For 1,382 reviews, this critic has graded:
  • 34% higher than the average critic
  • 2% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
Average review score: 57
Highest review score: 100 The Big Lebowski
Lowest review score: 0 Kazaam
Score distribution:
1,382 movie reviews
    • 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.
    • 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.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Little more than a well-written and nicely delivered feature-length sitcom.
    • 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.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    A mildly engaging and roughly historical action picture.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    Foster commendably stretches beyond her comfort zone with The Beaver, but in the end the film's high-concept premise is at war with its conventional direction.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    The how-it-was-made demonstration may have been the most captivating part of Mars Needs Moms.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    The film has little flash of life and energy.
    • 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.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Cars 2 makes for a decent play date but is not an especially good movie.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    Spielberg's typically emotive storytelling only comes to the fore in a few of the film's pivotal action scenes, a couple of which are truly spectacular and remind us only all too well of what this film might have been.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    By trying too hard to stay on this side of hip and the other side of sentimental, Crowe winds up with a zoo that's neither fish nor fowl.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Filled with some marvelous dialog and quips delivered by some of the best in the business. There are worse ways to while away the time.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    The true wonder of this low-budget movie, however, is its acquisition of the rights to so much of the previously mentioned music. It's almost exclusively Dylan and the Dead, but damned if you won't be stopping for some Cherry Garcia ice cream on the way home.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    Ultimately a mystery box that lacks a treasure at its core.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    Not that anyone was asking for a reboot of the series that is perhaps best remembered as the launching pad for Johnny Depp's career, but here it comes anyway. The film will probably gain several points on the likability scale for its sheer unexpectedness and modest ambitions.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    Ultimately a shambling tale told with genial grace but little substance. It provides a pleasant buzz while it unfolds but vanishes quickly in a puff of smoke.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Provides lots of good information for newcomers to the cause.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    The film is wonderfully atmospheric and full of little frights, but its overall impact is only glancing.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    To sum it up, there is little that is unexpected in The Hobbit: An Unexpected Journey. Rather than an epic continuation of Jackson's Middle-earth obsession, the film seems more like the work of a man driving around a multilevel parking garage without being able to find the exit.
    • 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.
    • 59 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.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    Hedges has demonstrated his sensitivity to internecine family conflicts and the tenor of small-time life. However, The Odd Life of Timothy Green seems always to be straining for whimsy and wonder.
    • 73 Metascore
    • 50 Marjorie Baumgarten
    The Raid: Redemption definitely delivers everything that international action fans want. The question I have is whether the laws of supply and demand are adequate tools for evaluating a movie's worth.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    With a foretold ending and long stretches of pure driving, The Last Ride squanders its potential, much like its tragic subject.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Adams is absolutely winning in this role, which requires her to be a tough-as-nails attorney, grownup tomboy, and psychologically scarred adult. And she makes a good foil for Eastwood, though it's often uncomfortable to see the actor going through melodramatic paces.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Lawless never fully comes together as a whole but it is quite intriguing in spots.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    On the whole, the film feels detached and morose, just like its characters.
    • 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.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    In the end, the film doesn't add up to much of anything, but its individual parts are sometimes greater than its whole.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    Teetering between folly and genius, this Will Ferrell comedy masquerading as a Mexican soap opera-cum-horse opera unfortunately levels off somewhere near the undistinguished center.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    The film's sound design is also expertly wrought with a blend of nearly subliminal noises, bumps in the night, and other frights.
    • 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.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    As filmmaking debuts go, Panos Cosmatos' Beyond the Black Rainbow is as striking as it is nuts.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    This new movie is a trifle, a listless excursion into the luxurious problems of rich, white people.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    It's a "what if" story that's hopeful but doesn't ring true.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    On the whole, Extraterrestrial is slight, filled with lots of bark but little bite.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Penis-obsessed, man-child film comedies can crown a new king: the Danish import Klown.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    Most of the performances are good in a flailing sort of way, and McConaughey, especially, is a standout in this year of his reinvention. Despite all its garish accoutrements and salacious underpinnings, The Paperboy can be a hoot to watch.
    • 71 Metascore
    • 50 Marjorie Baumgarten
    Smashed may be better at preaching to the choir and is likely to find its largest audience among struggling 12-steppers.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    A Late Quartet overplays its bass line and loses sight of the melody, making for a movie that is heavy-handed and sluggish. It remains earthbound when it should soar.
    • 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.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    This film is more a love story about the marriage between Hitchcock (Anthony Hopkins) and his wife, Alma Reville (Helen Mirren), rather than a historically accurate backstage look at the making of this important movie in the Hitchcock filmography and the American psyche.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    After establishing this interesting premise, writer/director James DeMonaco only scratches the surface of its implications before devolving into a creepy roundelay of murders and deaths averted.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    In The Girl, writer/director David Riker returns to many of the same themes he pursued in his award-winning 1998 film "La Ciudad," which told the stories of four Hispanic immigrants living in New York City. Immigration is still very much on Riker’s mind, although he approaches it from a very different perspective this time.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Although To the Wonder never transported me, personally, to the ecstatic heights the title promises, there is still much here worth one’s engagement.
    • 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.
    • 68 Metascore
    • 50 Marjorie Baumgarten
    The film looks good (nod to cinematographer Roman Vasyanov). The images are sharp even when the film’s ideas are not.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    It’s too bad, then, that Justin Chadwick’s film does not offer a more substantial portrait of the man, whose passing is a fresh wound to mourners and curious onlookers worldwide.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    Renoir is great at capturing some of the details of daily life within this unique household and conveying an Impressionist atmosphere on film, but as far as telling us a story, the film is a washout.
    • 74 Metascore
    • 50 Marjorie Baumgarten
    At its best when making the political personal, the film’s exposure of a husband’s enduring mystery about his wife’s motivations has a universal appeal.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    Amounts to little more than a big, wet kiss to the group’s worldwide legions of young, female fans.
    • 66 Metascore
    • 50 Marjorie Baumgarten
    Although the film’s character portraits are vividly drawn, they remain largely one-dimensional.
    • 88 Metascore
    • 50 Marjorie Baumgarten
    Life Is Sweet observes this constellation of people without ever really commenting on their lots. Very little occurs and thus, if you don't find yourself drawn to these characters, you will find yourself wondering when it will all be over.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Although the movie contains occasional moments of glimpsed accomplishment, Kansas City is for the most part a lame duck.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    Afternoon Delight has many small pleasures but falls far short of reaching the G spot.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    An almost sweet sensibility emerges by the end of Bad Grandpa. Young Jackson Nicholl is a real find: The kid can really hold his own against Knoxville’s master pranker.
    • 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.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    Cesar Chavez, though respectful and illuminating, never rises to the inspirational level of its titular subject.
    • 78 Metascore
    • 50 Marjorie Baumgarten
    This biography, to our surprise, is extremely respectful and earnest and lacking Morris' usual transformational touch.
    • 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.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    Though there is plenty of razzle-dazzle onscreen, Nine is unlikely to ignite many sparks among viewers.
    • 47 Metascore
    • 40 Marjorie Baumgarten
    An attempt to infuse some girl power into their mash-up of cheeky horror films and teen-angst movies. The result is more mash than smash as Jennifer’s Body squanders its initial good will by failing to deliver the goods on either score.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    It’s distinguishing the trickle from the treacle that becomes the problem.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    A well-told tale that uses minimal dialogue, striking imagery, and vivid violence to weave a depressing portrait of obsessive love and a no-win battle of wills.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Visually, The Jacket has a lot of flash, but it hardly compensates for the fuzzy story.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Director Siri has a stylish eye that makes this film resemble a film noir outing, but the script (by Doug Richardson) is at first routine before growing increasingly outlandish.
    • 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
    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
    My be a gearhead's delight, but its appeal to middle-of-the-roaders will be stop-and-go.
    • 59 Metascore
    • 40 Marjorie Baumgarten
    Neither a change of seasons nor truly wonderful performances can breathe life into the dismally enervated Winter Solstice.
    • 69 Metascore
    • 40 Marjorie Baumgarten
    He's a saint in the flesh, but not one who inspires great drama.
    • 67 Metascore
    • 40 Marjorie Baumgarten
    Paul Green seems more interested in what rock school can do for him than for the kids.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    The result, although more sexually provocative, is not nearly as gratifying as was his (Ziad Doueiri) breakthrough film.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    Flightplan should have remained grounded for repairs.
    • 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.
    • 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.
    • 51 Metascore
    • 40 Marjorie Baumgarten
    Watts is in nearly every frame of the movie, so if you're a fan (and you should be) that's the reason to see this.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 40 Marjorie Baumgarten
    Many are the times the viewer stares disbelievingly at the screen, furious with Murray for not asking follow-up questions or simply refusing to see the need to prove the veracity of the story.
    • 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.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    Despite employing every cliché in the sports-movie handbook, Goal! The Dream Begins tells a reasonably engaging story.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    First Snow tries hard but lacks originality.
    • 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.
    • 63 Metascore
    • 40 Marjorie Baumgarten
    Zoo
    Time and again, Devor sabotages his own attempt to bring "zoos," literally and figuratively, into the light.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    Hot Rod is a stupid movie about stupid people doing stupid things.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    Never transcends its clichés.
    • 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.
    • 74 Metascore
    • 40 Marjorie Baumgarten
    My conclusion is that exploitation of a child for the sake of one's career is a shameful act.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 40 Marjorie Baumgarten
    When I ask myself what it is that these women in the movie want, I come up with bubkes.
    • 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.
    • 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.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    Provides tepid but fun entertainment.
    • 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."
    • 38 Metascore
    • 40 Marjorie Baumgarten
    The latticework of social meaning that makes up Crossing Over is ultimately a flimsy structure that pays lip service to liberal values while only occasionally inventing anything of dramatic significance.
    • 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.
    • 68 Metascore
    • 40 Marjorie Baumgarten
    Unfortunately, the actors don't all behave as though they're performing in the same movie.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    A well-chosen cast props up this otherwise shallow story.
    • 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.
    • 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.
    • 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."
    • 43 Metascore
    • 40 Marjorie Baumgarten
    Brooklyn’s Finest is mo’ wrong than right.
    • 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."
    • 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.
    • 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.
    • 34 Metascore
    • 40 Marjorie Baumgarten
    Plot and character development are scarce; the film is more an abstraction than an absorption.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    Fails to create a seamless and believable web of measured performances and period color.
    • 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.
    • 28 Metascore
    • 40 Marjorie Baumgarten
    Moore succeeds, even though the film as a whole does not fare as well.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    It's neither the fulfillment of our worst fears nor the surprise of the week.
    • 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.
    • 46 Metascore
    • 40 Marjorie Baumgarten
    There's a nice little story here about the intermingling of cultures, but it rarely gets beyond the obvious clichés.
    • 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.
    • 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.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    All in all, though, this Brazilian import is a small curiosity, intriguing more for its failures than its accomplishments.
    • 71 Metascore
    • 40 Marjorie Baumgarten
    A confusing jumble of historical drama and modern social essay that only serves to cloud the whole field of Jane Austen studies.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    Merry witticisms collide with empty clichés, leaving these characters with little trace of realism.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    It's amazing the filmmakers never really concern themselves with satisfying the audience's rules of engagement.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Just sputters along, albeit pleasantly, while revisiting the realm of the abundantly familiar.
    • 56 Metascore
    • 40 Marjorie Baumgarten
    The Five Senses, despite its good performances, is like looking through a filmmaker's sketchbook: strong outlines but little substance.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    Reeks of a filmmaker who latched on to sure-fire subject matter, but then became lost once his character morphed into a person.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.”
    • 62 Metascore
    • 40 Marjorie Baumgarten
    A real audience pleaser.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    A sumptuous ride with breathtaking scenes and a soaring musical score.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 36 Metascore
    • 40 Marjorie Baumgarten
    Flawed but often entertaining teen horror flick.
    • 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.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    Hope doesn't float in this film so much as it rises to the surface and then stagnates.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    Looks mostly like the same-old, same-old.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 40 Marjorie Baumgarten
    The movie's third act begins a baffling and not-very-believable character turnabout.
    • 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.
    • 80 Metascore
    • 40 Marjorie Baumgarten
    Once you've seen it all once I bet you'll wish you were watching "Groundhog Day" -- again.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    It just may be a movie that has difficulty transcending national borders.
    • 47 Metascore
    • 40 Marjorie Baumgarten
    Joseph Fiennes smolders as young Luther, but it’s a performance that makes you wish instead that his older brother Ralph -– an actor who is one of the greatest at being able to portray inner torture and anguish -– were playing the part.
    • 67 Metascore
    • 40 Marjorie Baumgarten
    In between all the laughs and tears, it becomes painfully obvious that there's not a whole lot of story here to prop up the constant emotional yanking.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Not only is Kikujiro sweet and funny, it is, no doubt, Kitano's experimental "art film."
    • 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.
    • 19 Metascore
    • 40 Marjorie Baumgarten
    Cynical yet mildly amusing Yuletide-season comedy.
    • 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
    The film’s accumulation of unnecessary complications, bad visual choices, one completely superfluous character (LaBeouf), and tonally inappropriate quips makes us distractedly ponder the limits of human rather than artificial intelligence.
    • 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.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Everything Reeves has done since always has the whiff of "Ted" about it. Party on, dudes.
    • 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.
    • 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.
    • 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).
    • 72 Metascore
    • 40 Marjorie Baumgarten
    While celebrating the lushly romantic, it also tweaks the tradition so that Sleepless in Seattle ends up something akin to a feature-length Taster's Choice commercial.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    In its rush to push hot buttons, Disclosure neglected some essentials of good storytelling.
    • 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
    Never breaks out of its dullsville rut.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    Emerges as an artful, courageous, experimental work that is as compelling as it is impaired.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 40 Marjorie Baumgarten
    Unfortunately, there's little more than formula in Ichaso's El Cantante.
    • 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.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    As we find ourselves again immersed in a time of war, Trumbo's ageless story offers a useful corollary.
    • 64 Metascore
    • 40 Marjorie Baumgarten
    Lymelife arrives with an impressive pedigree but, unfortunately, little originality.
    • 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.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    Amiable and proficient, this indie romantic comedy is never more or less than reliable.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 40 Marjorie Baumgarten
    This documentary is as soothing and edifying as watching a video loop of the Yuletide log.
    • 69 Metascore
    • 40 Marjorie Baumgarten
    The actors are all charged up, too; there’s just nowhere in this script for them to go.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 40 Marjorie Baumgarten
    Terrific performances can't save this preposterous film from itself, but they do make it more bearable to watch.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    It's hard not to feel punk'd and trapped amid the company of jerks.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    Without sizzle or thrills, The Tourist becomes as sluggish and rank as the Venice waterways.
    • 47 Metascore
    • 40 Marjorie Baumgarten
    This story about two death-obsessed teens is twee and precious instead of genuine and candid.
    • 33 Metascore
    • 40 Marjorie Baumgarten
    Kidman is the only refreshing thing in the movie. Otherwise, Just Go With It is an exercise in stagnation.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    Bettany exudes an intensity that lays the groundwork for an interesting character, but Priest hasn't a prayer of creating anything more subtle than the giant cross tattooed on his face.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    Hop
    Some films are saccharine, but Hop is pure sugar.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 40 Marjorie Baumgarten
    Talks the talk but doesn't walk the walk.
    • 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.
    • 66 Metascore
    • 40 Marjorie Baumgarten
    The action is neither cathartic nor supremely exhilarating. "Bullitt" on a bike this film is not.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 40 Marjorie Baumgarten
    Shaky science fiction shacks up with a corny redemption tale.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    The melodramatic film has numerous light and comical touches, and the performances are uniformly good. The film's pace, however, has the consistency of molasses, and there's hardly a scene that wouldn't be improved by judicial trimming.
    • 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.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    Despite the weak performances and the scattershot screenplay, the film is visually terrific.
    • 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.
    • 61 Metascore
    • 40 Marjorie Baumgarten
    Margaret definitely has many elements for a successful drama. It's unfortunate that no one was able to shape them into a functional movie.
    • 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.
    • 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.
    • 55 Metascore
    • 40 Marjorie Baumgarten
    When Murray's around, he's the only hot dog in the room.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    Viewers approaching Tim and Eric's comedy for the first time will probably be baffled by their popularity and success. Their Billion Dollar Movie will not win new converts, and their stretched-out routines demonstrate the old saw about less sometimes being more.
    • 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.
    • 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?"
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 40 Marjorie Baumgarten
    The Oranges has little original shading.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    It’s delightful to see these acting pros hamming it up in this movie. They look as though they’re having a blast. The same can’t be said for the audience.
    • 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."
    • 43 Metascore
    • 40 Marjorie Baumgarten
    A good concept yields scattershot results in this horror-film anthology.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    Ready to Wear is to filmmaking what paper dresses were to fashion -- thin, trendy, and disposable.
    • 31 Metascore
    • 40 Marjorie Baumgarten
    Never a filmmaker known for his subtlety, The Single Moms Club turns out to be one of Perry’s most distinctive efforts.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    How the devastating story of the senseless murder of a 14-year-old could be stripped of emotion is a feat in itself, though one of dubious achievement.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Everybody’s Fine – a movie about the lies grown children tell their parents – is, ironically, one of the most disingenuous movies to come out of Hollywood in a while.
    • 58 Metascore
    • 30 Marjorie Baumgarten
    Despite a title change from "The Boat That Rocked" to Pirate Radio, this British import exudes about as much outlaw swagger as Tom DeLay in a dance competition.
    • 27 Metascore
    • 30 Marjorie Baumgarten
    Have we such short memories that we have already forgotten last year's feeble "Johnson Family Vacation?"
    • 36 Metascore
    • 30 Marjorie Baumgarten
    Cruelty, church redemption, miraculous healings of limbs and junkie relatives – all have their moments onscreen.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Without better material, Bullock’s talents will remain undercover.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    Images seem to be grafted into the film that have little to do with the actual story.
    • 71 Metascore
    • 30 Marjorie Baumgarten
    In contrast to its great title, Mad Hot Ballroom is anything but: Let’s just say I was not spellbound.
    • 45 Metascore
    • 30 Marjorie Baumgarten
    The movie makes use of every avian pun possible, a pattern that becomes quickly monotonous and predictable, if not contagious.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    As cold and unseemly as that stiff found in the shower.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    The kind of film that will be suitable for all-ages entertainment once the family runs out of conversation after devouring all the turkey, but it's unlikely to expand its audience beyond these captives.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Despite an A-list cast and director, it's astonishing how bad this movie is.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Bland jokes and lazy contrivances.
    • 21 Metascore
    • 30 Marjorie Baumgarten
    Bratz is way too long.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    An awful lot of good talent has been squandered in this by-the-numbers film.
    • 43 Metascore
    • 30 Marjorie Baumgarten
    Coppola never manages to get his themes to coalesce into anything terribly coherent.
    • 45 Metascore
    • 30 Marjorie Baumgarten
    Perry tosses everything at his disposal into his movie gumbo, even a completely gratuitous appearance by his signature, self-performed, alter-ego in drag Madea – most likely to set up the premise for his next film "Madea Goes to Jail."
    • 38 Metascore
    • 30 Marjorie Baumgarten
    Perelman eases the transitions between the past and the present with echoing phrases and situations, but they all seem rather pat and contrived. Does he really think that repeated refrains from the Zombies oldie, "She's Not There," won't be a dead (so to speak) giveaway?
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Swing Vote may muster a few easy laughs, but the film is no contender.
    • 56 Metascore
    • 30 Marjorie Baumgarten
    Stuff the cork back in: This wine movie was sold before its time.
    • 26 Metascore
    • 30 Marjorie Baumgarten
    With Filth and Wisdom, the Material Girl has now spliced the title of film writer and director into her list of accomplishments, but the result is, well, immaterial.
    • 53 Metascore
    • 30 Marjorie Baumgarten
    The lesson learned from The Tale of Despereaux is that an overabundance of vocal talent does not a good cartoon make.
    • 41 Metascore
    • 30 Marjorie Baumgarten
    The revelation of Little Ashes turns out to be none of the leading men but rather Gatell, a riveting actress cast as the girlfriend who is mystified by Lorca’s lack of sexual interest in her.
    • 30 Metascore
    • 30 Marjorie Baumgarten
    The Art of War must ultimately be chalked up as a strategic defeat.
    • 69 Metascore
    • 30 Marjorie Baumgarten
    Not even the rich and nuanced performances of stage veterans Smith, Gambon, and Birkin can save this British period drama from languishing amid the story's unfocused longings and unrealistic musings.
    • tbd Metascore
    • 30 Marjorie Baumgarten
    Christian filmmaking has entered a new phase in which its creators have discovered how to soft-pedal their message under wraps of a conventional story.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    The Monkey's Mask is filmed with an eye toward an arthouse sheen, although Lang's dramatic pacing is sluggish and dull.
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Only the most indulgent would fail to notice that this movie can't hold a tune.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Lacks the bite that can equal the Bruckheimer bark.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    The kind of movie that gives "chick flicks" a bad reputation.
    • 64 Metascore
    • 30 Marjorie Baumgarten
    The comedy is often harsh and cruel.
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Breaks down before it gets out of the driveway.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    Spotlessly dull.
    • 54 Metascore
    • 30 Marjorie Baumgarten
    Seems more like an amateur revue, perfectly all right for what it is, but not meant to be seen beyond an audience of friends and family.
    • 28 Metascore
    • 30 Marjorie Baumgarten
    A hackneyed police story, rife with clichés, implausibilities, and weak performances.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    There is a new definition of the term, "critic-proof movie," and it goes by the name Pokémon: The First Movie.
    • 39 Metascore
    • 30 Marjorie Baumgarten
    Across-the-board, the kids are extremely adorable to watch (not an easy thing to pull off) and will appeal to the other kids in the audience who might identify with them and see the story from the kids’ point of view. But looking at this film from any other perspective, will give you brain rot.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    Not uninteresting, and it is very nicely performed, although you'll strain to learn from the movie the history on which it is based and struggle futilely to get inside the motivations of its characters.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    Posey and Sheen appear to have a blast playing oversized characters so obnoxious that it's obvious they belong together.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    A mildly diverting comedy but has little of real substance to recommend it.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    When a human joke like Tony Robbins is the only one who comes away from your movie smelling like a rose, there's a real problem in Farrellyland.
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Duigan has the makings of a good yarn, but instead of trusting the story and his characters, he becomes fatally bogged down in trying to make statements.