Michael Rechtshaffen

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For 819 reviews, this critic has graded:
  • 56% higher than the average critic
  • 7% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 5 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Wanted
Lowest review score: 0 Natural Selection
Score distribution:
819 movie reviews
    • 36 Metascore
    • 30 Michael Rechtshaffen
    An unpleasant exercise in self-indulgence
    • 20 Metascore
    • 30 Michael Rechtshaffen
    This evangelical "Dear America: Letters Home From Vietnam" by way of "The Dukes of Hazzard" takes a mighty ridiculous route to righteousness.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Chief Zabu may have been buried for the past three decades, but this tiresomely talky would-be satire is no treasure.
    • 41 Metascore
    • 30 Michael Rechtshaffen
    With the exception of a decent train-top chase, Torque is all vroom and no action.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Lopez’s first feature comes across as fragmented and overwrought, with characters and performances that seem to have been egged on by the score’s achingly purposeful piano.
    • 44 Metascore
    • 30 Michael Rechtshaffen
    Gratingly unfunny groaner littered with zero-dimensional, unlikable characters and hackneyed, threadbare comic setups.
    • 48 Metascore
    • 30 Michael Rechtshaffen
    In the end, you'll either succumb to the silliness of it all and cheer Johnny B. on to his green card or, more likely, be in desperate need of your own exit visa.
    • 36 Metascore
    • 30 Michael Rechtshaffen
    Smultaneously silly, ostentatious and terribly boring.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Director Kishan SS has made Care of Footpath 2 (a.k.a. Kill Them Young) as a bombastic, overlong melodrama that doesn't recognize the occasional need to takes things down a decibel or three.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    This first feature is populated by blandly underdeveloped main characters who tend to recite their lines rather than inhabit them.
    • 32 Metascore
    • 30 Michael Rechtshaffen
    Comprising reclaimed bits from "Blade Runner," "A Clockwork Orange" and "Children of Men" and glibly served up with hyper Guy Ritchie attitude by first-time feature director Miguel Sapochnik, the resulting in-your-face mess never knows what it wants to be when it grows up.
    • 21 Metascore
    • 30 Michael Rechtshaffen
    While the film, with its preponderance of potty jokes, might placate the very young already primed by boisterous singing chipmunks, older viewers will likely find it all harder to, uh, bear.
    • 39 Metascore
    • 30 Michael Rechtshaffen
    The childhood years of Brazil’s national treasure have been given a lamentably pedestrian big-screen treatment by Pelé: Birth of a Legend.
    • 31 Metascore
    • 30 Michael Rechtshaffen
    The star wattage quickly dims in this slick-looking but ringingly hollow affair that starts off generically at best before collapsing into a convoluted heap of shrill screen cliches.
    • 51 Metascore
    • 30 Michael Rechtshaffen
    [An] annoyingly oblique exercise in arty affectation.
    • 36 Metascore
    • 30 Michael Rechtshaffen
    Unfortunately in the hands of writer-director Adam Alecca, this overly talky, slackly executed game of cat-and-mouse comes off as cheesy rather than chilling.
    • 25 Metascore
    • 30 Michael Rechtshaffen
    Proves to be more prone to malfunction than dysfunction.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    The sci-fi drama 400 Days ultimately disintegrates upon impact because of a lazy payoff.
    • 37 Metascore
    • 30 Michael Rechtshaffen
    As vapidly generic as its title, British director Scott Mann's Heist is a by-the-numbers crime thriller that squanders a decent cast, including Robert De Niro, Jeffrey Dean Morgan and Dave Bautista.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    While the fake news angle is admittedly a timely one, the film’s ultimate dubious achievement is its remarkable ability to make “Dude, Where’s My Car?” feel like vintage Kubrick.
    • 37 Metascore
    • 30 Michael Rechtshaffen
    Even for something preaching spiritual tranquility, Milton’s Secret exhibits the barest trace of a pulse.
    • 36 Metascore
    • 30 Michael Rechtshaffen
    Despite its high-profile cast and a sizable marketing push from distributor Summit Entertainment, audiences won't require any paranormal powers of their own to realize they've seen this one before.
    • 29 Metascore
    • 30 Michael Rechtshaffen
    An entirely dispensable, soapy caricature of a love story that comes complete with a jukebox full of music industry cliches plus Ashlee Simpson's big feature film debut.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    This overcooked Thanksgiving turkey succeeds only in managing to take all the fun out of dysfunctional.
    • 22 Metascore
    • 30 Michael Rechtshaffen
    The result proves to be as appealing and effervescent as a flute of flat champagne.
    • 13 Metascore
    • 30 Michael Rechtshaffen
    Any scrap of charm or honest-to-goodness humor already possessed in limited quantities by the original has been relegated to the outhouse in this sorry follow-up.
    • 31 Metascore
    • 30 Michael Rechtshaffen
    A plodding comic caper that fails to deliver.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    There just aren't enough rescue dogs in the world to save "Rescue Dogs," a shrill, yappy live-action comedy that proves considerably more annoying than adorable.
    • 50 Metascore
    • 30 Michael Rechtshaffen
    Had the film and its poky lead characters at least managed to pick up the sluggish pace, experiencing Buddymoon wouldn’t have felt like such a slog.
    • 37 Metascore
    • 30 Michael Rechtshaffen
    Although the performances, including that of Rebecca Romijn channeling Cybill Shepherd as a femme fatale type, are sturdy, their characters have been given absolutely nowhere interesting to go.
    • 50 Metascore
    • 30 Michael Rechtshaffen
    The most appreciative audience for this lame National Lampoon release likely will be guys in tour buses.
    • 22 Metascore
    • 30 Michael Rechtshaffen
    There are a couple clever touches here and there, including one sequence in which the end of a candy cane has been carefully licked into a highly lethal weapon, but for the most part the accompanying histrionics feel more regressive than retro.
    • 39 Metascore
    • 30 Michael Rechtshaffen
    Instead of taking the audience in unfamiliar directions, filmmaker Mora Stephens (who wrote the script with Joel Viertel) is in such a heated rush to get to all the salacious bits, the story doesn't build crucial dramatic tension.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Those taking in Someone Else, an unconvincing, nonlinear drama about a pair of dramatically different Korean American cousins who are attracted to the same woman, will soon likely be wishing they had chosen to watch something else.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Bell proves to be one tough cookie, but she's ultimately taken down by all the stiff, under-developed dialogue and iffy supporting performances.
    • 38 Metascore
    • 30 Michael Rechtshaffen
    The end product is surprisingly charmless -- a shrill "Devil Wears Prada"/"Bridget Jones"/"Sex and the City" knockoff that keeps threatening to fall apart at the seams.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Commercial director Shyam Madiraju, making his feature debut, demonstrates a spare, sinewy visual grip on the low-budget film, especially during that crash sequence. But the mechanical script strands a capable young cast in a sea of hackneyed character types and soggy platitudes.
    • 55 Metascore
    • 30 Michael Rechtshaffen
    The bizarro plot threads, and dippy characters fail to connect in any rewarding way, resulting in a largely unfunny film that proves as repetitive and tedious as the 1971 Philip Glass snippet that provides its entire score.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    The faith-based impetus behind this redemptive, family-friendly, American Revolution-era yarn is placed front and center amid all the digitally assisted derring-do and skulduggery.
    • 42 Metascore
    • 30 Michael Rechtshaffen
    The melody may be as old as the Bible, but The Song could have benefited from a fresher voice.
    • 32 Metascore
    • 30 Michael Rechtshaffen
    In terms of inspiration or even the slightest shred of ingenuity, Banks ranks more like an 000 than an 007.
    • 43 Metascore
    • 30 Michael Rechtshaffen
    [A] misguided hybrid that makes tediously clear from the outset that the conceit just isn’t working.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    The film's oddball assortment of broadly played characters feel like sketch comedy escapees stretched beyond their limits, an attempt to fill the demands of a feature-length canvas.
    • 34 Metascore
    • 30 Michael Rechtshaffen
    A dysfunctional drama.
    • 57 Metascore
    • 30 Michael Rechtshaffen
    At best a kitschy "Catch Me If You Can" and at worst a tedious comedy that grows more tiresome by every self-consciously irreverent minute.
    • 57 Metascore
    • 30 Michael Rechtshaffen
    The production is over-stuffed with cutesy split screens, jarring dream sequences and a pushy score by Bright Eyes band members Nathaniel Walcott and Mike Mogis that succeed in dragging the proceedings from merely cloying to increasingly annoying.
    • 33 Metascore
    • 30 Michael Rechtshaffen
    No less noisy, obnoxious or just plain groan-inducing than the previous installments.
    • 47 Metascore
    • 30 Michael Rechtshaffen
    Despite relocating across the pond to the esteemed British Museum, the creaky Night at the Museum: Secret of the Tomb fails to capitalize on the comic potential provided by that change of venue.
    • 48 Metascore
    • 30 Michael Rechtshaffen
    Embracing the worst of Hollywood excess, director Wuershan crams in enough CG effects to fill a dozen Jerry Bruckheimer/Michael Bay features, but the uninspired payoff quickly grows tiresome.
    • 41 Metascore
    • 30 Michael Rechtshaffen
    Essentially a telenovela with cinematic pretensions, La Mujer de Mi Hermano (My Brother's Wife) is a vapid slab of soap depicting a love triangle among three remarkably uninteresting characters.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Writer-director Park Kwang-hyun certainly keeps the visual energy aloft with its frantic genre-splicing, but the over-the-top approach ultimately plays out like several years’ worth of Super Bowl commercials strung out end to end.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Director Paul Borghese, who previously attempted to ape Scorsese with his 2013 mob drama, “Once Upon a Time in Brooklyn,” is content to simply rehash shopworn tropes.
    • 39 Metascore
    • 30 Michael Rechtshaffen
    Rose’s pickles might have a pleasant snap, but there’s none to be found in the tired, limp shtick in Sheldon Cohn and Gary Wolfson’s screenplay, which has been choreographed at a lumbering, drawn-out pace by director Michael Manasseri.
    • 34 Metascore
    • 30 Michael Rechtshaffen
    By the time they're done with all the tinkering, "Scooby-Doo" ends up bearing as much a resemblance to Hanna-Barbera as the recent "Cat in the Hat" did to Dr. Seuss.
    • 43 Metascore
    • 30 Michael Rechtshaffen
    The results might make for some swell production stills, but as a motion picture, Teknolust never really makes it alive out of Hershman's head.
    • 42 Metascore
    • 30 Michael Rechtshaffen
    Flaming out from the get-go, Trash Fire represents another soggy batch of Southern Gothic horror-comedy from writer-director Richard Bates Jr. that spews out pitch black smoke with little combustible substance.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    A limp sex comedy about men behaving badly.
    • 29 Metascore
    • 30 Michael Rechtshaffen
    Strictly old hat -- and a poorly assembled hat at that.
    • 18 Metascore
    • 30 Michael Rechtshaffen
    Never gets off the ground, trotting out the same predictable twisting heads and psycho-babble without a whiff of originality or discernible visual flair. As a result, the would-be thriller proves as scary and unsettling as a slab of devil's food cake - only considerably less satisfying.
    • 19 Metascore
    • 30 Michael Rechtshaffen
    There's a veil of artifice clinging to every aspect of The Lovers, a thoroughly unconvincing time-traveling epic costume drama pairing a miscast Josh Hartnett and Bollywood beauty Bipasha Basu.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Despite Presswell's evident enthusiasm, the tediously talky, dramatically stilted results offer conclusive evidence that mastering suspense requires artistic skill beyond sampling the Master of Suspense.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    One could say the mechanical direction leeches the energy out of virtually every sequence, but that would imply there was any there to begin with — and, although the young actors seem likable enough, their characters never credibly come to life.
    • 27 Metascore
    • 30 Michael Rechtshaffen
    There's infinitely more than one anomaly to be found in The Anomaly, a thoroughly nonsensical futuristic sci-fi thriller that makes a case for the perils of vanity projects.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Me
    The comedy isn’t so much sharply observed as it is obvious and obnoxious.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    The arty visual effects, backed by a soundtrack of ambient noise, may recall the experimental work of early practitioners such Stan Brakhage and Kenneth Anger, but the ponderous, headache-inducing results do the story and the actors no favors.
    • 26 Metascore
    • 30 Michael Rechtshaffen
    Preachy doesn't begin to describe War Room, a mighty long-winded and wincingly overwrought domestic drama.
    • 31 Metascore
    • 30 Michael Rechtshaffen
    It's like being trapped for an hour-and-a-half in a pound full of yappy puppies.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    A generic coming-of-age comedy that feels inextricably stuck in the ’90s, Hickey serves as the feature debut of TV commercial director Alex Grossman and plays like a never aired UPN series pilot.
    • 51 Metascore
    • 30 Michael Rechtshaffen
    Easily the worst in a trilogy that has been notable mainly for the presence of its everyman action star, Transporter 3 is a nonsensical, choppily edited bore, with awful dialogue.
    • 21 Metascore
    • 30 Michael Rechtshaffen
    An unmitigated B-movie that isn't thrilling enough or cheesy enough to make it worth the trip.
    • 26 Metascore
    • 30 Michael Rechtshaffen
    Once the initial round of breast-feeding and rectal thermometer bits is fired off, the picture starts to give off the funky whiff of unattended Pampers.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Get past the wince-inducing premise of Helicopter Mom...and you're still stuck with a forced comedy that mines uneasy humor from stale stereotypes.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    The unfocused Undrafted ultimately possesses all the dramatic intrigue of an intentional walk.
    • 36 Metascore
    • 30 Michael Rechtshaffen
    Sharing its title with a historic Reno hotel that's seen better days (or maybe not), El Cortez is a clumsy lump of ponderous pulp fiction with "Cooler" aspirations.
    • 34 Metascore
    • 30 Michael Rechtshaffen
    A tepid ghost story filled with all the usual things that go bump in the night minus the somewhat crucial element of suspense, this bland effort from Sam Raimi and Rob Tapert's Ghost House Pictures is surprisingly devoid of the creepy, claustrophobic atmospherics that haunt the brothers' Asian work.
    • 33 Metascore
    • 30 Michael Rechtshaffen
    In his first feature outing, director Soham Mehta overplays the significance of virtually every aspect of Rajiv Shah’s script, no matter how minor, with painfully slow pans and needlessly lingering establishing shots.
    • 34 Metascore
    • 30 Michael Rechtshaffen
    Along comes Elektra to effectively lower the bar for Marvel Comics page-to-screen transitions.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    The Adventure Club is a remarkably dull Canadian tween caper about a sought-after magical ancient box with wish-making powers.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    Despite the admittedly unique angle, this ambitious drama gets crushed under the considerable weight of its artistic, as well as budgetary, limitations.
    • 40 Metascore
    • 30 Michael Rechtshaffen
    May have been adapted the 1996 French film "L'Appartement," but pretty much all evidence of what was once an engaging psychodrama has been lost in the translation.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    For anyone who's not a Francophone tween girl, the film likely will be a tedious, precious exercise in indulgence.
    • 26 Metascore
    • 30 Michael Rechtshaffen
    A misconceived washout of a darkly gothic story of madness, addiction and child abuse made all the more unpleasant by Gilliam's trademark intense visual style.
    • 41 Metascore
    • 30 Michael Rechtshaffen
    A disappointingly dreary affair.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    A dull, meandering romantic comedy with serious believability issues.
    • 43 Metascore
    • 30 Michael Rechtshaffen
    An examination of a sexual relationship that's about as viscerally explicit as hardcore can get...But as satisfying viewing experiences go, the film comes up mighty short in terms of story, interesting characters and technical prowess.
    • 36 Metascore
    • 30 Michael Rechtshaffen
    Director Grau seems to be making up the film as he goes along — never a good idea when tackling the sort of genre piece that requires building tension and some semblance of dread to succeed.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    One just wishes that the filmmakers had made this a more open debate on religion versus science instead of a documentary that too often feels manipulatively Machiavellian in its presentation of all those "irrefutable" facts and findings.
    • 33 Metascore
    • 30 Michael Rechtshaffen
    Presumably a glib attack on sanctimonious small-town religious hypocrisy informed by Black's own strict Mormon upbringing, the film is tonally all over the place, eventually settling in a rut that comes a lot closer to resembling bad camp than edgy satire.
    • 24 Metascore
    • 30 Michael Rechtshaffen
    Although the Tarantino influence still is tangible, this time around Duffy reveals himself to also be a big Francis Ford Coppola fan, but the cartoonish end result plays like "Godfather III" meets the Three Stooges.
    • 29 Metascore
    • 30 Michael Rechtshaffen
    Few will likely embrace the insufferably chirpy, high-concept rom-com that struggles to stretch a mighty shallow premise into a feature-length proposition.
    • 35 Metascore
    • 30 Michael Rechtshaffen
    The back-to-the-beginning approach unimaginatively goes through the motions, offering scant justification for its boring existence, at least from an artistic point of view.
    • 29 Metascore
    • 30 Michael Rechtshaffen
    David Hubbard's script is so steeped in sludgy sentimentality that the film's early hints of quirkiness quickly give way to heavy-handed faith healing.
    • 14 Metascore
    • 20 Michael Rechtshaffen
    By the time the film reaches a faith-based, third-act crescendo, Bean, Walsh and company, despite their best efforts, look like they know they've been beaten, while the score's mournful strings wring out whatever pathos remains untapped.
    • 12 Metascore
    • 20 Michael Rechtshaffen
    The result is a slacker comedy that goes slacker by the second, trying hard to be rude and crude but suggesting an old John Candy-Dan Aykroyd movie with bongs and more swearing.
    • 31 Metascore
    • 20 Michael Rechtshaffen
    Inept on every level, Panic 5 Bravo is a virtually unwatchable, blood-soaked crime drama serving as the writing-directing debut of actor Kuno Becker.
    • 18 Metascore
    • 20 Michael Rechtshaffen
    An unholy mess co-produced by Cameron's faith-based Camfam Studios.
    • 31 Metascore
    • 20 Michael Rechtshaffen
    An acutely misguided, purported satire dealing with the prickly subject of child molestation.
    • 35 Metascore
    • 20 Michael Rechtshaffen
    The film’s prevailing theme may be that nothing is black and white, but the execution, with its strident lobbyists, salt-of-the-earth farmers and onscreen admonition to “investigate before you donate,” proves spottier than a kennel full of caged Dalmatians.
    • 24 Metascore
    • 20 Michael Rechtshaffen
    There's absolutely nothing fantastic or transporting about London, an endlessly ponderous relationship picture that also has zilch to do with the British city.
    • 24 Metascore
    • 20 Michael Rechtshaffen
    Every bit as frantic, frenetic, groan-inducing and all around grating as its two predecessors.

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