Marjorie Baumgarten

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For 1,616 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 4.1 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Terminator
Lowest review score: 0 Mortal Kombat: Annihilation
Score distribution:
1616 movie reviews
    • 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.
    • 27 Metascore
    • 40 Marjorie Baumgarten
    Forgotten or subject to overkill as they are here, veterans still get the shaft.
    • 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.
    • 54 Metascore
    • 40 Marjorie Baumgarten
    Emblazoned with ambition, this throwback Seventies-style private-eye movie (think Robert Altman’s "The Long Goodbye" or Robert Aldrich’s "Hustle") seems more invested in its form than its content.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    There’s no denying the poetry at work in his film, but so much of it is inchoate and fundamentally sexualized that it becomes more of a turn-off than a turn-on. Malick’s Cups is ultimately half-full.
    • 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.
    • 30 Metascore
    • 40 Marjorie Baumgarten
    Maybe Stonewall will have more value to younger viewers for whom the riots and gay marginalization in general are distant history and might be vivified by watching the film. Yet even though the film’s heart seems genuine, its structure is buttressed by falsies.
    • 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.
    • 61 Metascore
    • 40 Marjorie Baumgarten
    Don’t come to this documentary expecting to learn more about the girl named Malala.
    • 33 Metascore
    • 40 Marjorie Baumgarten
    Sleepless is a passable thriller, but it won’t keep you up for nights.
    • 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."
    • 40 Metascore
    • 40 Marjorie Baumgarten
    There’s no one to root for in this movie, and no one whose prospects we care about. Several plot points lack coherence, and inserted flashbacks add to a sense of the film having been fused into shape in the editing room. It seems that Suicide Squad was done in by its own hand.
    • 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.
    • 34 Metascore
    • 40 Marjorie Baumgarten
    This return to Wonderland is a dull outing, about which it can be said that Alice doesn’t live here anymore.
    • 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.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    Daddy’s Home is one of those comedies that is not terribly good, but not nearly as terrible as it might have been.
    • 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.
    • 55 Metascore
    • 40 Marjorie Baumgarten
    Terribly slight but not unpleasant, 5 Flights Up is hardly worth the climb.
    • 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.
    • 56 Metascore
    • 40 Marjorie Baumgarten
    Matt Brown’s movie is a perfunctory highlight reel, featuring tepid performances and dull cinematic technique. Although the movie’s 108 minutes are hardly infinity, its duration gives the concept a run for its money.
    • 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.
    • 57 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.
    • 38 Metascore
    • 40 Marjorie Baumgarten
    There’s a difference between being transgressive and offensive, and that, in a nutshell (or roasted chestnut), is the difference between Bad Santa and Bad Santa 2.
    • 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.
    • 38 Metascore
    • 40 Marjorie Baumgarten
    For better or worse, the film plays like an extended TV episode, jumping from each character’s story arc to the next, rarely lingering longer than the time it takes to land a few low-bro love jabs before moving on to the next scene.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    Despite the weak performances and the scattershot screenplay, the film is visually terrific.
    • 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.
    • 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.
    • 63 Metascore
    • 40 Marjorie Baumgarten
    This documentary is as soothing and edifying as watching a video loop of the Yuletide log.
    • 65 Metascore
    • 40 Marjorie Baumgarten
    The Tango Lesson is ponderously scripted and stiffly acted, and though the narrative causes the characters to skip continents and languages (the story bounces from Paris to Buenos Aires to London and back) little of the passion that drives this story is conveyed.
    • 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.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    Looks mostly like the same-old, same-old.
    • 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.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    Merry witticisms collide with empty clichés, leaving these characters with little trace of realism.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 40 Marjorie Baumgarten
    Unfortunately, there's little more than formula in Ichaso's El Cantante.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    In its rush to push hot buttons, Disclosure neglected some essentials of good storytelling.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    The result, although more sexually provocative, is not nearly as gratifying as was his (Ziad Doueiri) breakthrough film.
    • 50 Metascore
    • 40 Marjorie Baumgarten
    The parade has now moved on and Freeheld seems more like a footnote than a groundswell.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    Do not count on Office Christmas Party to deliver a contact high. Yes, there are laughs to be had, but not the off-the-charts merriment promised by the title and the film’s expert cast of comic actors.
    • 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.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Visually, The Jacket has a lot of flash, but it hardly compensates for the fuzzy story.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 40 Marjorie Baumgarten
    When I ask myself what it is that these women in the movie want, I come up with bubkes.
    • 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.
    • 47 Metascore
    • 40 Marjorie Baumgarten
    This story about two death-obsessed teens is twee and precious instead of genuine and candid.
    • 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.
    • 66 Metascore
    • 40 Marjorie Baumgarten
    Shaky science fiction shacks up with a corny redemption tale.
    • 80 Metascore
    • 40 Marjorie Baumgarten
    Once you've seen it all once I bet you'll wish you were watching "Groundhog Day" -- again.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    You have to feel a certain sympathy for a project as cursed as this one, but there’s no denying that Jane’s gun barely grazes its target.
    • 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.
    • 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.
    • 54 Metascore
    • 30 Marjorie Baumgarten
    If it's a good heist movie you're after, there are surely better ways to go than with this limp caper.
    • 43 Metascore
    • 30 Marjorie Baumgarten
    Coppola never manages to get his themes to coalesce into anything terribly coherent.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    A mildly diverting comedy but has little of real substance to recommend it.
    • 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.
    • 56 Metascore
    • 30 Marjorie Baumgarten
    Stuff the cork back in: This wine movie was sold before its time.
    • 29 Metascore
    • 30 Marjorie Baumgarten
    Not even this sprightly cast can buck the privileged sense of entitlement that bedevils this movie. Don’t count on the impish humor that Simon Pegg has unleashed so successfully in other movies to save the day.
    • 27 Metascore
    • 30 Marjorie Baumgarten
    The problem lies with the unimaginative story premise and the quip/reverse quip dialogue that just may be better-suited to half-hour television shows than this nearly 2½-hour movie feature.
    • 23 Metascore
    • 30 Marjorie Baumgarten
    Collateral Beauty is ultimately as mushy a movie as the phrase itself, whose definition is never fully explained by the script. It’s another example of something sounding good but meaning little.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    Sex may, indeed, be all in the mind, but Romance fails to score in the mind's eye.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    Delivers sinister atmosphere but few shocks.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Despite an A-list cast and director, it's astonishing how bad this movie is.
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Breaks down before it gets out of the driveway.
    • 27 Metascore
    • 30 Marjorie Baumgarten
    Even though it’s fair to say that Pixels is on steadier ground than most of Sandler’s recent comedies, the film is nevertheless flat-footed and grows tedious after the first hour.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    Even at 82 minutes in length, Superstar feels uncomfortably stretched.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    The rescuing of our public schools is a national necessity. I just don't know that we are aiding that cause by sending out oversimplified and dogmatic messages about not backing down.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    The title, The Last Song, may be wishful thinking for some, but the best they can probably hope for is the close of the era of Hannah Montana movies.
    • 36 Metascore
    • 30 Marjorie Baumgarten
    This is a bad movie, but one that awakens your senses every so often with flashes of originality and abundant self-belief.
    • 28 Metascore
    • 30 Marjorie Baumgarten
    The interfacing of the two-dimensional and three-dimensional characters is so shabbily accomplished that it makes you start noticing all the other technical glitches in the work.
    • 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.
    • 18 Metascore
    • 30 Marjorie Baumgarten
    Mother’s Day, the movie, feels as contrived and inauthentic as the holiday itself.
    • 25 Metascore
    • 30 Marjorie Baumgarten
    Each of the characters is dull and boorish instead of witty and urbane.
    • 65 Metascore
    • 30 Marjorie Baumgarten
    This Italian import may have greater resonance for the men of Casanova's native land than it does internationally, but it definitely hits on truths infrequently addressed in the movies.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Creating plot from lyrics, in this case, leads to heavy-handed literalism and limited creativity. The wall of music is amusing for a while, but grows into a loud, wearying assault long before the movie's two hours are up.
    • 31 Metascore
    • 30 Marjorie Baumgarten
    Although the original Red Dawn was far-fetched, the remake offers little but vicarious thrills.
    • 39 Metascore
    • 30 Marjorie Baumgarten
    The religious charlatans who are the primary characters in Don Verdean are ripe for comic deflation, but the film’s unsteady tone has no discernible target.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    Spotlessly dull.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    The film lacks any undercurrent of believability.
    • 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.
    • 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.
    • 32 Metascore
    • 30 Marjorie Baumgarten
    Although the plot is pretty bare-bones, it’s propped up by plenty of gratuitous dialogue and imagery that do nothing to further the story.
    • 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.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    Hardly lives up to its name -- bedeviled is more like it.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    What the movie ultimately demonstrates is that the sum total is less than the individual parts when you add together Rocky, the Terminator, Indiana Jones, Mad Max, Blade, Zorro, Hercules, and the Transporter.
    • tbd Metascore
    • 30 Marjorie Baumgarten
    Writer/director Damien Lay’s screenplay has some head-scratchers in addition to its flat dialogue, but it’s clear that the airplanes rather than the characters are his real passion. Unfortunately, his film never takes flight.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Moog is an inventor's movie all the way.
    • 45 Metascore
    • 30 Marjorie Baumgarten
    Deathbed scenes and colonoscopy humor, Bible quotations and Maury Povich "Who Is the Real Baby Daddy" episodes: All cohabit with equal relevance in the world of Tyler Perry.
    • 31 Metascore
    • 30 Marjorie Baumgarten
    The laziness is what irks me most about Blended. Everything from the re-teaming of the two stars and their "Wedding Singer" director, Frank Coraci, reeks of moviemaking by checklist.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    This comedy has a few genuine laughs, but The Bronze never even comes close to making it to qualifiers.
    • 41 Metascore
    • 30 Marjorie Baumgarten
    Phenomenon flails about in a search for direction: inspirational drama, romance, social study, government intrigue- nothing fits or is explored very deeply.
    • 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.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    The kindest thing that might be said of this Eighties nostalgia trip is that its formulaic plot and overall mirthlessness are meant as mimetic tributes to that blasted decade.
    • 36 Metascore
    • 30 Marjorie Baumgarten
    Arthur overextends its welcome and relies too much on prop comedy.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    Ultimately sinks under the weight of its good intentions. It’s like watching Univision or Telemundo on the big screen.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Although I'm generally a fan of movies that choose to star girls (of any age) as their lead subjects, Judy Moody and the Not Bummer Summer simply strikes the same whiny chord over and over.
    • 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.
    • 64 Metascore
    • 30 Marjorie Baumgarten
    The comedy is often harsh and cruel.
    • 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.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    When this stereotype masquerades as a storyline, it needs to have a unique spin or radical narrative disruption for it to stand out from all the other self-made movies about white male artists with girl problems and self-worth issues. In Stereo is not the movie that stands out from the rest.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    What begins as a cute idea grows annoyingly sentimental before it is through.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    Much more "Splish" than "Splash."
    • 51 Metascore
    • 30 Marjorie Baumgarten
    The movie's suspense derives from figuring out how wide the evil net has been cast. But in terms of suspense, this Net is full of holes.
    • 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.
    • 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.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    Images seem to be grafted into the film that have little to do with the actual story.
    • 43 Metascore
    • 30 Marjorie Baumgarten
    Could have used a touch of Madea’s down-home, self-reliant wisdom to spice up the marital doldrums of these four buppie couples.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Aloft’s characters exude a certain impregnability, and the story’s structure only further distances us from them.
    • 45 Metascore
    • 30 Marjorie Baumgarten
    It seems nothing is left out, and the movie makes us begin to feel as though we've witnessed every swing the man ever swung.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    The film feels about as genuine and spontaneous as its evident lip-synching.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    There's an interesting story here, but Joffe never firmly wraps his arms around it.
    • 64 Metascore
    • 30 Marjorie Baumgarten
    Unlike its multifaceted director, the film never stretches its boundaries.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Learn from the Evers family: The Haunted Mansion is not worth the detour.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    As cold and unseemly as that stiff found in the shower.
    • 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.
    • 69 Metascore
    • 30 Marjorie Baumgarten
    Despite the filmmakers' efforts to humanize Wilson, however, Bill W. still dabbles in hagiography, valorizing the man while also painting him as a reluctant hero.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Pleasant but dull formula film.
    • 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.
    • 28 Metascore
    • 30 Marjorie Baumgarten
    A hackneyed police story, rife with clichés, implausibilities, and weak performances.
    • 39 Metascore
    • 30 Marjorie Baumgarten
    Not even the always reliable talents of McKean and Lynch can help pull this comedy out of its ironic slump.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Lacks the bite that can equal the Bruckheimer bark.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    The film squanders any potential it had to be a revealing look into female intimacy and instead uses broad-scale melodramatic strokes.
    • 21 Metascore
    • 30 Marjorie Baumgarten
    Bratz is way too long.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    The kind of movie that gives "chick flicks" a bad reputation.
    • 25 Metascore
    • 30 Marjorie Baumgarten
    Molina and Weaver, who, most of the time, perform brilliantly, move through Abduction as if on autopilot.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    An awful lot of good talent has been squandered in this by-the-numbers film.
    • 27 Metascore
    • 30 Marjorie Baumgarten
    Have we such short memories that we have already forgotten last year's feeble "Johnson Family Vacation?"
    • 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.
    • 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.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    If there were any brooms in Disney's new Sorcerer's Apprentice they would have to be used to sweep this tired dreck to the curb.
    • 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.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Burlesque bumps and grinds. And then it continues to grind and grind and grind.
    • tbd Metascore
    • 30 Marjorie Baumgarten
    Even if some of its history and buckles are askew, the film is still an original take on a Christian redemption story.
    • 43 Metascore
    • 30 Marjorie Baumgarten
    My favorite line from the movie: "The god---- truth won't fit in your brain." How's that for cheap gimmicks for getting out of having to make a movie make sense?
    • 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.
    • 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?
    • 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.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    All this would be fine if the script by Forrest Smith had more wit and fewer clichés, or the direction by former makeup artist Abascal had more inventiveness.
    • 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.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    Lovitz is occasionally amusing, especially in his creative attempts to get through to his pupils, although his style of slow-take humor is a grave mismatch for this kind of frenzied comedy.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Without better material, Bullock’s talents will remain undercover.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Bland jokes and lazy contrivances.
    • 30 Metascore
    • 30 Marjorie Baumgarten
    The Art of War must ultimately be chalked up as a strategic defeat.
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Only the most indulgent would fail to notice that this movie can't hold a tune.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Although there’s a strong likability quotient for everyone onscreen here, which ought to keep the movie minimally afloat among its target audience of black viewers starved for a new Tyler Perry offering, Baggage Claim should be left behind at the carousel.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    Atkinson's fans are likely to rejoice as the comedian twists his face and body to and fro, but the rest of us will not be recruited.
    • 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."
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Long after Only God Forgives concludes, only its scuzziness remains. This artistic misfire will forever be knocking on heaven’s door.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    Only Ruben Blades as President Calles and Bruce Greenwood as American Ambassador Dwight Morrow get out of this film with their acting dignity intact.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    Retains and updates the basic plot points while losing much of the original's heart and soul.
    • 36 Metascore
    • 30 Marjorie Baumgarten
    Cruelty, church redemption, miraculous healings of limbs and junkie relatives – all have their moments onscreen.
    • 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.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    The primary problem with Blue Like Jazz is that there is no believable character development.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Manic energy is the term that comes most readily to mind when describing Ace Ventura.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Going the Distance has a tin ear and sullied eye: Nothing sounds or looks very good.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    It's unclear what Brooks is trying to say about our melting-pot culture, if anything.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Swing Vote may muster a few easy laughs, but the film is no contender.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    Everyone learns a lesson by movie’s end: Don’t put work before family. Curiously, no one learns that all this could have been avoided with a good method of birth control.
    • 51 Metascore
    • 20 Marjorie Baumgarten
    Aronofsky's reach far exceeds his grasp with this film, and the muddle he concocts makes one wonder if there was ever a solid foundation for The Fountain. Hope may spring eternal, but this fountain is a dry hole.
    • 15 Metascore
    • 20 Marjorie Baumgarten
    Nothing about the movie makes much sense.
    • 30 Metascore
    • 20 Marjorie Baumgarten
    Badland's only commercial potential lies in the possibility that people may confuse it for Terrence Malick's incomparable "Badlands."
    • 35 Metascore
    • 20 Marjorie Baumgarten
    Silly and implausible.
    • 25 Metascore
    • 20 Marjorie Baumgarten
    Muddled, sloppy, and obfuscating.
    • 33 Metascore
    • 20 Marjorie Baumgarten
    None of it is handled with any emotional believability or grace. Well-worn phrases and plot developments are repeated here as though the world had never heard of "Cinderella."
    • 45 Metascore
    • 20 Marjorie Baumgarten
    Redgrave still manages to inspire awe, yet a poetically prosaic moment like the one in which she goes chasing after a butterfly is enough to throw a net over the whole thing.
    • 27 Metascore
    • 20 Marjorie Baumgarten
    A forgettable and lackluster fish-out-of-water rom-com.
    • 34 Metascore
    • 20 Marjorie Baumgarten
    A frustrating exercise in diverted expectations.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    As arduous to watch as your neighbor’s poorly focused vacation slides.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    The film, however, is short on genuine scares and ingenuity.
    • 23 Metascore
    • 20 Marjorie Baumgarten
    Furry Vengeance would be innocuous enough if only it didn't look as though no effort was made to expand the images past the storyboard phase.
    • 45 Metascore
    • 20 Marjorie Baumgarten
    Adults may have a hard time swallowing this toothless tale of PG-rated bloodsuckers, but kids may relate better to its lessons.
    • 25 Metascore
    • 20 Marjorie Baumgarten
    R.I.P.D. never creates a believable universe, interesting action sequences, or dynamic characters. It’s a paint-by-numbers approach in which the film’s comedy and drama both fall flat.
    • 51 Metascore
    • 20 Marjorie Baumgarten
    Despite a few scattered moments of visceral excitement, the only thing truly frightening about the oh-so-ominously titled Fear is how so many talented people came to be involved in so inane a project.
    • 49 Metascore
    • 20 Marjorie Baumgarten
    V/H/S/2 is for gore hounds exclusively.

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