Marjorie Baumgarten
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For 1,412 reviews, this critic has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 2.6 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 There Will Be Blood
Lowest review score: 0 Thérèse: The Story of Saint Thérèse of Lisieux
Score distribution:
1,412 movie reviews
    • 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.
    • 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.
    • 25 Metascore
    • 30 Marjorie Baumgarten
    Each of the characters is dull and boorish instead of witty and urbane.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    Even at 82 minutes in length, Superstar feels uncomfortably stretched.
    • 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.
    • 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.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Learn from the Evers family: The Haunted Mansion is not worth the detour.
    • 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.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    Retains and updates the basic plot points while losing much of the original's heart and soul.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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?
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Moog is an inventor's movie all the way.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    It's unclear what Brooks is trying to say about our melting-pot culture, if anything.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    Much more "Splish" than "Splash."
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Only the most indulgent would fail to notice that this movie can't hold a tune.
    • 27 Metascore
    • 30 Marjorie Baumgarten
    Have we such short memories that we have already forgotten last year's feeble "Johnson Family Vacation?"
    • 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.
    • 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.
    • 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.
    • 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
    Manic energy is the term that comes most readily to mind when describing Ace Ventura.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Despite an A-list cast and director, it's astonishing how bad this movie is.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Pleasant but dull formula film.
    • 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.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Going the Distance has a tin ear and sullied eye: Nothing sounds or looks very good.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Burlesque bumps and grinds. And then it continues to grind and grind and grind.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    Delivers sinister atmosphere but few shocks.
    • 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.
    • 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.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    There's an interesting story here, but Joffe never firmly wraps his arms around it.
    • 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.
    • 64 Metascore
    • 30 Marjorie Baumgarten
    Unlike its multifaceted director, the film never stretches its boundaries.
    • 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.
    • 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
    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.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    The film feels about as genuine and spontaneous as its evident lip-synching.
    • 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.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    The primary problem with Blue Like Jazz is that there is no believable character development.
    • 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.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 30 Marjorie Baumgarten
    Although the original Red Dawn was far-fetched, the remake offers little but vicarious thrills.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    What begins as a cute idea grows annoyingly sentimental before it is through.
    • 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.
    • 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.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    The film lacks any undercurrent of believability.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 20 Marjorie Baumgarten
    For those unfamiliar with the notoriously camera-averse philosopher and his thoughts, Derrida will most probably prove to be an unenlightening bore.
    • 12 Metascore
    • 20 Marjorie Baumgarten
    In terms of execution this movie is careless and unfocused.
    • 16 Metascore
    • 20 Marjorie Baumgarten
    Would have been smart to fold before it let its hand go this far.
    • 55 Metascore
    • 20 Marjorie Baumgarten
    The movie's bright touches belong primarily to Brooke Smith.
    • 62 Metascore
    • 20 Marjorie Baumgarten
    Totally in the distance is the memory of "Swingers," whose hipster goof has been replaced by a stupid goof. This may be what is meant by the “dumbing down of America.”
    • 47 Metascore
    • 20 Marjorie Baumgarten
    No matter your standard of measurement, this production falls short.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    Does not live up to its name. It's more like White Men Can't Box, Either.
    • 50 Metascore
    • 20 Marjorie Baumgarten
    Ugh. The Rules of Attraction is the kind of movie that leaves vague impressions and a nasty aftertaste.
    • 52 Metascore
    • 20 Marjorie Baumgarten
    Unlikely to receive many curtain calls.
    • 47 Metascore
    • 20 Marjorie Baumgarten
    Like Mike is a slight and uninventive movie: Like the exalted Michael Jordan referred to in the title, many can aspire but none can equal. Even "Space Jam" was better than this.
    • 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
    Suffocates under its own good intentions and inexorable sense of doom.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    One might expect that with such low goals the film might have at least hit its target more often than it does. Schneider's mugging is relentless and his constant need to suddenly transpose himself into another character undermines the story's continuity and progression.
    • 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.
    • 28 Metascore
    • 20 Marjorie Baumgarten
    Everything is a puzzle and it's as though Lynch lost track of his reasons for making this prequel and got hung up on filming the sordid details that TV won't allow: shots of peeled-back corpse fingernails; close-ups of oscillating uvulas; visions of strange-looking, backward-talking, gyrating weirdos; and uncensored whiffs of sex, cocaine, and families undone.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    It's likely there's going to be some “viewer disturbance” going on after audiences catch a whiff of this routine and thrill-less suspenser.
    • 31 Metascore
    • 20 Marjorie Baumgarten
    In the final analysis though, the only real thing being smuggled in National Security is unwitting patrons' admission fees.
    • 25 Metascore
    • 20 Marjorie Baumgarten
    The logic of it all will be Greek to anyone not predisposed to the movie's rude and crude humor.
    • 34 Metascore
    • 20 Marjorie Baumgarten
    It begins in a muddle and ends in confusion.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    The whole thing reeks of sequelitis, with an emphasis on the rude and crude.
    • 30 Metascore
    • 20 Marjorie Baumgarten
    It comes off like so much poppycock -– to use the vernacular of the day.
    • 24 Metascore
    • 20 Marjorie Baumgarten
    In an inspired bit of casting, Lyle Lovett plays the dad of the goofy-looking Diz/Gil. That these two could be related might be the only believable touch in this whole misfired thing.
    • 41 Metascore
    • 20 Marjorie Baumgarten
    Disappointing flop that is best left off your dance card.
    • 33 Metascore
    • 20 Marjorie Baumgarten
    As is, Welcome to Mooseport is clunkily earthbound as its characters and the situations plod forward while never getting anywhere.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    Everything about Agent Cody Banks 2 reeks of hurry-up and make this movie before its kid star Frankie Munoz loses his pubescent looks (it’s already borderline).
    • 29 Metascore
    • 20 Marjorie Baumgarten
    As arduous to watch as your neighbor’s poorly focused vacation slides.
    • 30 Metascore
    • 20 Marjorie Baumgarten
    Its narrative conceit will entertain for a while, but eventually you will long to disappear with the rest of the Mexicans.
    • 33 Metascore
    • 20 Marjorie Baumgarten
    Another unthrilling Renny Harlin thriller.
    • 42 Metascore
    • 20 Marjorie Baumgarten
    Misbegotten is the only way to describe this remake of the 1975 film based on Ira Levin's cultural-zeitgeist novel.
    • 37 Metascore
    • 20 Marjorie Baumgarten
    Instead of building suspense and tension, Suspect Zero devotes its efforts to creating a weird and creepy milieu that will leave fans of police procedurals wanting and avant-garde enthusiasts scratching their heads.
    • 33 Metascore
    • 20 Marjorie Baumgarten
    Frankly, one's sympathy sides more with the class bitch who thinks she has the better voice and deserves the choral solo instead of Terri. In your heart you know she's right.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    Silly and implausible.
    • 47 Metascore
    • 20 Marjorie Baumgarten
    A top-notch cast was gathered and then wasted in this atmospheric but prosaic hoodoo spooker.
    • 38 Metascore
    • 20 Marjorie Baumgarten
    This kind of angel stuff is classic Hollywood fare, especially at Christmastime. Thus, it's all the more wonder that director Nora Ephron has missed and mishandled so many of her cues.
    • 15 Metascore
    • 20 Marjorie Baumgarten
    Nothing about the movie makes much sense.
    • 36 Metascore
    • 20 Marjorie Baumgarten
    A dish of empty calories.
    • 30 Metascore
    • 20 Marjorie Baumgarten
    Tries hard but never makes the leap.
    • 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.
    • 34 Metascore
    • 20 Marjorie Baumgarten
    A frustrating exercise in diverted expectations.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    As witless and simpleminded as the irradiated humanoids that serve as the franchise’s bad guys.
    • 41 Metascore
    • 20 Marjorie Baumgarten
    It's all probably too slippery for the youngest viewers to grasp and too sketchy for the nostalgia crowd (for whom this revival seems most geared).
    • 36 Metascore
    • 20 Marjorie Baumgarten
    Nothing is very funny in this movie, and everything is predictable.
    • 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.
    • 46 Metascore
    • 20 Marjorie Baumgarten
    The Basketball Diaries is a stepped-on product that never scores.
    • 62 Metascore
    • 20 Marjorie Baumgarten
    Usually, I am not so persnickety about such things, especially with first-timers, but the accumulation of mis-matched shots is so great that you have to wonder why some of the more experienced crew members weren't climbing the rafters to say “Whoa, Mel.”
    • 53 Metascore
    • 20 Marjorie Baumgarten
    It's not really a matter of Nancy's retro look and grounding in the fundamentals of sleuthing that separates the women from the girls but, rather, this film's lack of gaiety and surprise that makes it dud for old and new generations of the books' fans.
    • 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.
    • 25 Metascore
    • 20 Marjorie Baumgarten
    Muddled, sloppy, and obfuscating.
    • 36 Metascore
    • 20 Marjorie Baumgarten
    One well-staged sequence in a parking garage is the film's only memorable moment
    • 56 Metascore
    • 20 Marjorie Baumgarten
    Across the Universe will have ardent defenders, but in the long run, it will do nothing to infuse life into the current mini-revival of movie musicals and is as soft-headed as the wishful refrain “All You Need Is Love.” Maybe that works in real life but not in the movies, sister.
    • 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."
    • 46 Metascore
    • 20 Marjorie Baumgarten
    CJ7
    Chow's loyal fans are sure to be disappointed by CJ7, and the film faces one other significant problem in traveling to these shores: Any kid who is the right age to appreciate this pap is going to be too young to read subtitles.
    • 43 Metascore
    • 20 Marjorie Baumgarten
    After his disastrous outing in 200X with "The Adventures of Pluto Nash," there was no direction for Murphy to head but up in terms of another space alien movie. Indeed, Meet Dave is a step up, but that's only in relation to Pluto Nash.
    • 66 Metascore
    • 20 Marjorie Baumgarten
    At times it's almost like "Lord of the Flies," with the camera serving as the flypaper dipped in the honey of the promised land of celebrity.
    • 37 Metascore
    • 20 Marjorie Baumgarten
    And for all Lee's ballyhoo about racial stereotyping, one might expect him to adopt a less hackneyed approach to his portrayals of Italians and women.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    An effective sound design enhances several of the film's sudden frights, and Sutherland, who appears in almost every scene, is a predictably solid presence.
    • 39 Metascore
    • 20 Marjorie Baumgarten
    Paul Blart: Mall Cop deserves to be cited for loitering.
    • 28 Metascore
    • 20 Marjorie Baumgarten
    Taken as a whole, The Ugly Truth is much like its orgasms: phony and unsatisfying.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    G.I. Joe was not screened for critics, but that’s not because of its mindless action and nonsensical plot. It’s because G.I. Joe is the kind of movie that bludgeons the viewer into submission with its loud and constant barrage of sound and fury.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    Overstays its welcome by at least a half hour. But, assuming that cute Camaro stays in the picture, I expect we’ll all be back for the planned round three.
    • 50 Metascore
    • 20 Marjorie Baumgarten
    A classic case of preaching to the choir, since it’s doubtful the film will reach many of the minds that need changing.
    • 45 Metascore
    • 20 Marjorie Baumgarten
    Looks and tastes an awful lot like a TV movie of the week.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    You watch and wait for this underachieving film to ignite, then grow more and more exasperated as you witness its many misfires.
    • 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.
    • 21 Metascore
    • 20 Marjorie Baumgarten
    Only the underplaying Selleck gets out of this with any dignity, while O’Hara is totally wasted as Jen’s one-note tippling mom.
    • 41 Metascore
    • 20 Marjorie Baumgarten
    Certainly there are filmgoers who enjoy this kind of noncommittal metaphysical quest. I am not one of them. It makes me think that the filmmaker is more interested in showing us his vacation slides instead of sharing any real insights.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    Unbearable.
    • 27 Metascore
    • 20 Marjorie Baumgarten
    Apart from the smutty giggles that derive from the mere mention of the Focker family surname, this third entry in the now 10-year-old comedy franchise falls flat.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    This Red Riding Hood loses sight of the forest for the trees on its way to Grandma's house.
    • 27 Metascore
    • 20 Marjorie Baumgarten
    A forgettable and lackluster fish-out-of-water rom-com.
    • 31 Metascore
    • 20 Marjorie Baumgarten
    Most unforgivable, however, is the film's coda in which real Georgian victims pose for the camera with pictures of their loved ones lost in the five days of war. Using real people to impart the emotions that the entire film was unable to evince is simply cheap exploitation.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    October Baby earns points for the originality of its protagonist but it has no chance of preaching to anyone but the choir.
    • 31 Metascore
    • 20 Marjorie Baumgarten
    Instead of putting the high in high school, this film is the kind of drug movie that gives pot smokers a bad name.
    • 42 Metascore
    • 20 Marjorie Baumgarten
    The film is slapdash entertainment not meant to be further contemplated after leaving the theatre.
    • 26 Metascore
    • 20 Marjorie Baumgarten
    Atlas won't be the only one to shrug off this tiresome load.
    • 36 Metascore
    • 20 Marjorie Baumgarten
    An exercise in pure sadism, The Collection moves at a clip that leaps over plot holes in its race to elicit fright.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    The film, however, is short on genuine scares and ingenuity.
    • 26 Metascore
    • 20 Marjorie Baumgarten
    Apart from its dramatic predictability, Temptation is a snooze because of its languid pacing and rudimentary camerawork.
    • 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.
    • 49 Metascore
    • 20 Marjorie Baumgarten
    V/H/S/2 is for gore hounds exclusively.
    • 19 Metascore
    • 20 Marjorie Baumgarten
    Again. Via Red’s experiences as a young man and wildcatter, Jason learns that money cannot buy happiness. What the viewers learn is that money can’t buy a good movie either.
    • 29 Metascore
    • 11 Marjorie Baumgarten
    Meets the required minimum dosage of feature-film attributes, and then nods out when it comes to going any further.
    • 29 Metascore
    • 11 Marjorie Baumgarten
    Director Brill makes no stylistic advances from his recent work with Adam Sandler (Little Nicky, Mr. Deeds), and shows no signs of seeking growth or improvement.
    • 39 Metascore
    • 11 Marjorie Baumgarten
    The movie is toothless and uninspired, and as directed by veteran filmmaker Joel Zwick (My Big Fat Greek Wedding), the film is a disgracefully shoddy affair.
    • 34 Metascore
    • 11 Marjorie Baumgarten
    It's a shame to once again witness Martin Lawrence squander his considerable comic talents under a fat suit and fake breasts in this shoddy sequel.
    • 18 Metascore
    • 11 Marjorie Baumgarten
    Must be counted as a forfeit.
    • 13 Metascore
    • 11 Marjorie Baumgarten
    Despite cute kids, tough dads, and problems controlling bed-wetting and farts, Daddy Day Camp should just limp off to the nurse's tent and call it quits.
    • 20 Metascore
    • 11 Marjorie Baumgarten
    Michael Moore has nothing to fear from David Zucker.
    • 34 Metascore
    • 11 Marjorie Baumgarten
    All ends happily for everyone in the movie, but for those in the audience, the experience is so hackneyed that they'll come out feeling like they're wearing shirts that say, "I went to the Acropolis, but all I got was this lousy T-shirt."
    • 19 Metascore
    • 11 Marjorie Baumgarten
    Not so much bad as it is witless and predictable.
    • 26 Metascore
    • 11 Marjorie Baumgarten
    I'd use the term science fiction to describe Skyline but the movie decidedly lacks both science and fiction.
    • 30 Metascore
    • 11 Marjorie Baumgarten
    What the kids at my screening seemed to like best was the wizard's cat, whose mouth is computer-manipulated to utter pithy asides.
    • 19 Metascore
    • 11 Marjorie Baumgarten
    The Land of Lazy can crown a new king because with Grown Ups 2 Adam Sandler has officially nabbed the throne.
    • 27 Metascore
    • 0 Marjorie Baumgarten
    Functions mainly as a big-screen showcase for America's No. 1 teen tease, with the story and other characters serving mainly as accessories.
    • 11 Metascore
    • 0 Marjorie Baumgarten
    Reeks as badly as it sounds.
    • 23 Metascore
    • 0 Marjorie Baumgarten
    Certain to be distasteful to children and adults alike, Eight Crazy Nights is a total misfire.
    • 24 Metascore
    • 0 Marjorie Baumgarten
    Nothing about this movie works.
    • 22 Metascore
    • 0 Marjorie Baumgarten
    The loosely scripted story is further burdened with clunky dialogue and performances, shoddy continuity.
    • 26 Metascore
    • 0 Marjorie Baumgarten
    Not one of these new-fangled Christian movies that camouflages its proselytizing with decent storytelling and filmmaking technique. Time Changer is clunky, repetitive, and ham-handed.
    • 12 Metascore
    • 0 Marjorie Baumgarten
    A gimmick in search of a movie: how to get Carvey into as many silly costumes and deliver as many silly voices as possible, plot mechanics be damned.
    • 34 Metascore
    • 0 Marjorie Baumgarten
    Shoddy craftsmanship and uninteresting subjects (it's amazing how tedious some conversations can be when there's no one to put words in the subjects' mouths) sink this spring-break movie faster than an outbreak of Leginnaires’ disease on a vacation cruise liner.
    • 16 Metascore
    • 0 Marjorie Baumgarten
    The story is so shabbily built that it can make no valid claim to motives other than the filmmakers' mercenary desires to cash in on the public's prurient interests. And even on this bottom-feeder level, Showgirls fails to deliver the goods.
    • 22 Metascore
    • 0 Marjorie Baumgarten
    What can you say about a movie that includes its outtake bloopers reel before the closing credits?
    • 25 Metascore
    • 0 Marjorie Baumgarten
    Audiences may find this pap brimming with heart and sympathy for the little guy, but as prescriptions go, Patch Adams is pure placebo.
    • 41 Metascore
    • 0 Marjorie Baumgarten
    All the advance signs looked discouraging, but I still kept thinking: How bad could a comedy starring Eddie Murphy and Jeff Goldblum really be? Well, let's put it this way … you won't ever hear me asking that particular question again.
    • 9 Metascore
    • 0 Marjorie Baumgarten
    This is a movie that should have bypassed the theatres and gone straight to DVD. It is offensive on so many levels.
    • 27 Metascore
    • 0 Marjorie Baumgarten
    Her mortal story seems one of sadness rather than inspiration.
    • 43 Metascore
    • 0 Marjorie Baumgarten
    Simply put, no matter what this zebra thinks of himself, Stripes is no thoroughbred.
    • 24 Metascore
    • 0 Marjorie Baumgarten
    It's full of special effects that are big on smoke and noise, but short on logic and payoff.
    • 11 Metascore
    • 0 Marjorie Baumgarten
    The comic equivalent of a lump of coal.
    • 11 Metascore
    • 0 Marjorie Baumgarten
    The movie is nothing more than a perpetual chain of elaborately choreographed (by returning star Robin Shou) fight sequences that mix live-action foregrounds with complexly layered digital effects and are linked together by the most flimsy and laughable of plot elements.
    • 18 Metascore
    • 0 Marjorie Baumgarten
    Maybe everyone involved was hoping that no one would see this movie, but Madsen is the only one who should fear anyone seeing his work.
    • 37 Metascore
    • 0 Marjorie Baumgarten
    Whether their goal is to nourish the faithful or lure the heathens is not always clear. The only thing that's clear is that The Last Sin Eater serves neither of these higher purposes.
    • 31 Metascore
    • 0 Marjorie Baumgarten
    A listless family comedy and bland morality primer.
    • 16 Metascore
    • 0 Marjorie Baumgarten
    Beverly Hills Cop III is made with so little spark, humor, and internal logic that it makes me better appreciate these other recent Murphy movies where the actor/comedian at least stretched his persona and attempted something apart from the action comedy mold.
    • 45 Metascore
    • 0 Marjorie Baumgarten
    It's not even funny. Nor does it contain half the wit or charm as the old Doris Day sex comedies it so resembles.
    • 22 Metascore
    • 0 Marjorie Baumgarten
    A dreadfully misguided movie.
    • 20 Metascore
    • 0 Marjorie Baumgarten
    The top-line talent, particularly Thornton and Rourke, do manage to hold our attention with idiosyncratic performances, but most of the others are a jumble of fair-haired, disaffected boys.
    • 23 Metascore
    • 0 Marjorie Baumgarten
    Intelligence is insulted at every turn in this new date movie.
    • 28 Metascore
    • 0 Marjorie Baumgarten
    White is cast in this film as a “guardian angel” and adds another level of painful homosexual confusion and stereotyping to the film. Ultimately, all the chafing caused by Gentlemen Broncos is likely to leave you saddlesore.
    • 19 Metascore
    • 0 Marjorie Baumgarten
    A well-meaning but ineptly made message movie.
    • 31 Metascore
    • 0 Marjorie Baumgarten
    I’ve seen sick kids exploited for all sorts of reasons – usually as easy ploys to manipulate emotions but sometimes to sell things or encourage philanthropic outpourings – but Letters to God takes the cake (make that the holy wafer).
    • 22 Metascore
    • 0 Marjorie Baumgarten
    There's no getting around how dreadful Twelve is – how tone deaf it is to its young protagonists and how vapid its ersatz production design seems.
    • 33 Metascore
    • 0 Marjorie Baumgarten
    Listless, dull, and totally lacking in spectacle.
    • 23 Metascore
    • 0 Marjorie Baumgarten
    It's only February but I can already name the year's winner of Most Thoughtless Gay Stereotype in Film award. The dubious honor goes to The Roommate.
    • 20 Metascore
    • 0 Marjorie Baumgarten
    The only entities hoodwinked by this animated sequel are paying customers.
    • 24 Metascore
    • 0 Marjorie Baumgarten
    I really think the entire payoff to the Chipmunks' gambit comes in those inevitable moments when Dave bellows in exasperation, "Alvin." Maybe if we all bellow in unison it will be forceful enough to put an end to this painful film franchise.
    • 56 Metascore
    • 0 Marjorie Baumgarten
    Miami Connection is the sort of film that rarely sees the light of day anymore – a really bad, totally inept mess that reeks of more ambition than talent.
    • 16 Metascore
    • 0 Marjorie Baumgarten
    Any just God would likely recoil from the ham-fisted and spurious defense put forth in this film.