Megan Lehmann
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For 326 reviews, this critic has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 5.6 points lower than other critics. (0-100 point scale)

Megan Lehmann's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 In America
Lowest review score: 0 Swept Away
Score distribution:
  1. Negative: 97 out of 326
326 movie reviews
    • 34 Metascore
    • 50 Megan Lehmann
    Chases its tail for so long, it morphs from a whodunit into a who-cares.
    • 36 Metascore
    • 50 Megan Lehmann
    An interesting addition to a genre that tends too often to disregard artistic technique.
    • 47 Metascore
    • 50 Megan Lehmann
    Much of the action is strident and cartoonish -- but the romance at the core remains tender and true.
    • 63 Metascore
    • 50 Megan Lehmann
    Makes its biggest misstep in failing to persuade the viewer the five family members are charming eccentrics rather than irritating weirdos.
    • 45 Metascore
    • 50 Megan Lehmann
    S.W.A.T. boasts the kernel of a good idea - but it gets buried in the chaff of half-baked plot threads, partly realized characters and unstructured pandemonium.
    • 56 Metascore
    • 50 Megan Lehmann
    Lizzie McGuire's "Movie" doesn't try to be anything more than a superficial escapist fantasy for fans of the show.
    • 72 Metascore
    • 50 Megan Lehmann
    This slow-moving Swedish film offers not even a hint of joy, preferring to focus on the humiliation of Martin as he defecates in bed and urinates on the plants at his own birthday party.
    • 50 Metascore
    • 50 Megan Lehmann
    The central narrative is ultimately too one-dimensional to sustain interest.
    • 66 Metascore
    • 50 Megan Lehmann
    If it weren't for the estrogen-fueled action scenes -- choreographed by director Cory Yuen with wit and style -- So Close would be as disposable as the shampoo ad it all too often resembles.
    • 42 Metascore
    • 50 Megan Lehmann
    A good edit would have allowed the film's worthy, obviously heartfelt, message to shine.
    • 49 Metascore
    • 50 Megan Lehmann
    The movie is saved by its well-trained four-legged stars and the likable Liam Aiken ("Road to Perdition"), who plays 12-year-old loner Owen Baker.
    • 49 Metascore
    • 50 Megan Lehmann
    The trouble with authenticity in a punk rock film is that it comes off as amateurish, and while "Dolls" has a feverish energy -- and some good songs -- it suffers from crude performances and a trite rise-and-fall plot.
    • 56 Metascore
    • 50 Megan Lehmann
    This frigid and inaccessible period piece wears its glumness like a shroud.
    • 37 Metascore
    • 50 Megan Lehmann
    Too unfocused to make any point worth taking with us into the 2004 presidential campaign.
    • 66 Metascore
    • 50 Megan Lehmann
    Paints a vivid portrait of a compelling young man but, perhaps inevitably, goes overboard on the deification.
    • 54 Metascore
    • 50 Megan Lehmann
    The two leads have strong singing voices, but they're not helped by songs with titles like "It's Time to Disco."
    • 45 Metascore
    • 50 Megan Lehmann
    Overripe dialogue and a fevered score fail to inject any real tension, and the accentless English spoken throughout a film set entirely in France is ludicrous and jarring.
    • 41 Metascore
    • 50 Megan Lehmann
    A hit-and-miss affair.
    • 51 Metascore
    • 50 Megan Lehmann
    A visual treat diminished by lifeless dialogue and self-conscious acting.
    • 46 Metascore
    • 50 Megan Lehmann
    Light, doggedly formulaic romantic comedy that's almost instantly forgettable despite the sunny presence of teen queen Mandy Moore.
    • 52 Metascore
    • 50 Megan Lehmann
    Despite his innate appeal and nimble line readings, Grace can't surmount the deficiencies of the underdog character screenwriter Victor Levin ("Mad About You") has saddled him with.
    • 60 Metascore
    • 50 Megan Lehmann
    Seem to have spliced together two different concepts which, on paper, may have seemed complementary but wind up giving the film a schizophrenic feel.
    • 68 Metascore
    • 50 Megan Lehmann
    The feel-good finale -- an ending even less in doubt than that of the most predictable Hollywood fare -- is as rousing as you'd hope and the fast-paced, on-ice action is satisfyingly authentic.
    • 33 Metascore
    • 50 Megan Lehmann
    Screenwriter Tom Schulman, who won an Oscar for "Dead Poets Society," gives us a narrative reminiscent of a pup chasing its tail, as characters struggle to catch up with inexplicably chopping and changing motives.
    • 70 Metascore
    • 50 Megan Lehmann
    This modest little film out of Africa suffers from largely rudderless direction, relying for any sense of profundity on the breathtaking beauty of Abraham Haile Biru's cinematography.
    • 49 Metascore
    • 50 Megan Lehmann
    So serious-minded it occasionally teeters on the brink of absurdity.
    • 43 Metascore
    • 50 Megan Lehmann
    Startlingly immature.
    • 44 Metascore
    • 50 Megan Lehmann
    The cheerfully inane comedy Connie and Carla all but suffocates beneath a high-stepping, show-stopping, ear-splitting deluge of musical theater staples, from "Cats" to "Oklahoma!," "Jesus Christ Superstar" to "Fiddler on the Roof."
    • 47 Metascore
    • 50 Megan Lehmann
    Where Quentin Tarantino's "Kill Bill: Vol. 2" radiates freshness and vigor, Man on Fire feels vaguely like something left over from the 1980s, when action heroes were one-note tough guys methodically picking off baddies.
    • 60 Metascore
    • 50 Megan Lehmann
    A postcard-pretty psychological drama that's too moody and enigmatic for its own good.

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