For 504 reviews, this critic has graded:
  • 62% higher than the average critic
  • 3% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
Average review score: 58
Highest review score: 100 The LEGO Movie
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 59 out of 504
504 movie reviews
    • 40 Metascore
    • 50 Michael Rechtshaffen
    Will primarily strike a chord with Latina-skewing audiences with minimal crossover potential.
    • 34 Metascore
    • 50 Michael Rechtshaffen
    Directed with aching purpose by Lawrence David Foldes from a script he wrote with Grafton S. Harper, the lavish-looking but hackneyed memory play is small-screen fodder at best.
    • 40 Metascore
    • 50 Michael Rechtshaffen
    This flaccid psychological thriller keeps spoiling its own surprise by constantly signaling the big plot twist.
    • 63 Metascore
    • 50 Michael Rechtshaffen
    Definitely acquired-taste material and will perform best in the hipper, bigger rooms.
    • 59 Metascore
    • 50 Michael Rechtshaffen
    Tedious portrait of a troubled Rolling Stone.
    • 38 Metascore
    • 50 Michael Rechtshaffen
    Unable to decide whether it wants to be a rambunctious family comedy or a tender romantic comedy, the Dennis Quaid-Rene Russo vehicle strains to be both and ends up falling short of both marks.
    • 46 Metascore
    • 50 Michael Rechtshaffen
    This wannabe daring comedy about a man who attempts to "fix" the Special Olympics strains for that patented naughty and nice balance with squirmingly squishy results.
    • 45 Metascore
    • 50 Michael Rechtshaffen
    It might have been inspired by actual events, but End of the Spear is, literally and figuratively, simply too dull to make any impact.
    • 53 Metascore
    • 50 Michael Rechtshaffen
    While screenwriter Howard Himelstein and director Mike Barker have done a workable job of drawing the Wilde social satire out of the drawing room, the film never quite manages to travel at the same buoyant velocity as the acerbic wit.
    • 46 Metascore
    • 50 Michael Rechtshaffen
    A blandly generic family film.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    Shades of "Like Water for Chocolate" and "Chocolat" -- but unlike the latter's tender Juliette Binoche-Johnny Depp romance, the ordained Rai-McDermott union fails to generate any convincing heat, and no amount of cardamom pods or lotus root is going to help.
    • 45 Metascore
    • 50 Michael Rechtshaffen
    Audiences expecting a good time will instead be rewarded with wildly unsympathetic lead characters and uncomfortably long stretches without a laugh in sight.
    • 65 Metascore
    • 50 Michael Rechtshaffen
    A darker, grittier creature that, while benefiting considerably from Dion Beebe's HD cinematography, is a frustratingly inert affair -- a long and talky excursion that fails to engage the viewer from the outset.
    • 59 Metascore
    • 50 Michael Rechtshaffen
    Feels anonymously generic and charmlessly mechanical.
    • 57 Metascore
    • 50 Michael Rechtshaffen
    A thoroughly uninspiring drama that ultimately buckles under Michael Mayer's weighty direction.
    • 59 Metascore
    • 50 Michael Rechtshaffen
    The picture never successfully comes off the written page.
    • 54 Metascore
    • 50 Michael Rechtshaffen
    Ends up having all the satisfying substance of a supermarket impulse item.
    • 43 Metascore
    • 50 Michael Rechtshaffen
    A little charm and inventiveness would have gone a long way to tone down some of the picture's more obnoxious impulses.
    • 62 Metascore
    • 50 Michael Rechtshaffen
    A beautifully shot (by Oscar-winning cinematographer John Toll) but dramatically empty pursuit picture set in the untamed West.
    • 47 Metascore
    • 50 Michael Rechtshaffen
    While several members of the cast valiantly fill the void where they can, these fish out of water could have made a greater high-definition splash if they had been thrown an occasional line or two rather than counting on inspiration to wash over them.
    • 36 Metascore
    • 50 Michael Rechtshaffen
    Tpicture delivers the requisite number of pratfalls, and the genial Ice Cube makes for a credibly hapless everyman, but the comedy still feels a little too safely soft around the edges.
    • 52 Metascore
    • 50 Michael Rechtshaffen
    Hartley's kooky cosmopolitan caper can never be accused of slumming, but the shift from dry, offbeat wit to politically charged drama is a little jarring, to say the least; it's a bit like taking in Woody Allen's "Annie Hall" and having it morph mid-way through into "Shadows and Fog."
    • 38 Metascore
    • 50 Michael Rechtshaffen
    While Michael Keaton and Brendan Fraser turn in a pair of sturdy performances, the film itself proves to be a harder sell, especially because it looks and sounds like Mamet but proves to be a flimsy knockoff.
    • 45 Metascore
    • 50 Michael Rechtshaffen
    An improvement of sorts over the lifeless 2005 edition.
    • 44 Metascore
    • 50 Michael Rechtshaffen
    In its third time out of the gate, Rush Hour 3, reuniting Chris Tucker and Jackie Chan, hits the ground stalling.
    • 44 Metascore
    • 50 Michael Rechtshaffen
    A heartfelt but dramatically flat portrait of a couple grappling with one tragedy whose lives are profoundly affected by the outcome of another.
    • 58 Metascore
    • 50 Michael Rechtshaffen
    Less horrific than it is horribly didactic.
    • 42 Metascore
    • 50 Michael Rechtshaffen
    You'd think the team of Rob Reiner, Jack Nicholson and Morgan Freeman might have had the right stuff. Alas, their labored efforts fail to lift The Bucket List out of its flatlining state.
    • 47 Metascore
    • 50 Michael Rechtshaffen
    While Heigl is terrific, this uninspired romantic comedy is considerably less so.
    • 35 Metascore
    • 50 Michael Rechtshaffen
    Jumper proves disappointingly inert. All the state-of-the-art visual effects in the world can't compensate for spotty plotting and bland characters that prevent an intriguing premise from going the distance.
    • 66 Metascore
    • 50 Michael Rechtshaffen
    This "Living Dead" exercise delivers far less monstrosity and a great deal of pomposity, not to mention dull characters who aren't nearly as lively as those dead guys.
    • 30 Metascore
    • 50 Michael Rechtshaffen
    After a promising start, this quirky comedy falls flat despite Eckhart's best efforts.
    • 44 Metascore
    • 50 Michael Rechtshaffen
    The picture continuously shuffles moods like tunes on an iPod without ever making any lasting commitments.
    • 45 Metascore
    • 50 Michael Rechtshaffen
    Jay Lee's grotesque little horror film makes up for in audacity what it might lack in finesse.
    • 43 Metascore
    • 50 Michael Rechtshaffen
    Eddie Murphy's amusingly out of this world in this otherwise tired vehicle.
    • 35 Metascore
    • 50 Michael Rechtshaffen
    The largely uninspired Clone Wars feels landlocked. In the absence of any extensive innovation, the video game-ready results play more like a feature-length promo for the imminent TV series of the same name than a stand-alone event.
    • 52 Metascore
    • 50 Michael Rechtshaffen
    There's definitely a workable, reality TV-based angle at the core of Last Stop -- something along the lines of "No Reservations" but with scattered human remains instead of Anthony Bourdain.
    • 52 Metascore
    • 50 Michael Rechtshaffen
    In Arnold's absence, an important ingredient of the "Terminator" iconography -- namely, the fun factor -- is in short supply.
    • 39 Metascore
    • 50 Michael Rechtshaffen
    A tasteful melodrama courtesy of the easy chemistry between its two leads and a generally restrained touch from Tony-winning director George C. Wolfe in his feature debut.
    • 36 Metascore
    • 50 Michael Rechtshaffen
    An awkward mix of proficient 3-D animation, detailed technical recreation and strained storytelling that stalls on takeoff.
    • 34 Metascore
    • 50 Michael Rechtshaffen
    It's business as usual at Camp Crystal Lake, with very little in the way of fresh jolts or an innovative visual style that would have really revitalized the hokey franchise.
    • 41 Metascore
    • 50 Michael Rechtshaffen
    Unfortunately, the whole seldom adds up to the sum of its illustrious parts, and Jarmusch's trademark deadpan quirks seem to have gotten lost in the translation.
    • 50 Metascore
    • 50 Michael Rechtshaffen
    Pretty much any sign of creative life gets left out in the cold in Ice Age: Dawn of the Dinosaurs, the monotonous, strictly by-the-numbers third edition of the wildly lucrative digitally animated franchise.
    • 41 Metascore
    • 50 Michael Rechtshaffen
    There's seldom a dull moment -- but nor are there any that allow viewers young or old to invest in its elite team of furry characters to any satisfying or lasting degree despite the presence of an energetic voice cast.
    • 50 Metascore
    • 50 Michael Rechtshaffen
    An initially intriguing plot line makes a messy getaway in this throwback heist movie.
    • 58 Metascore
    • 50 Michael Rechtshaffen
    Though it's nice to see Mendes take a looser, not quite so studied approach to his filmmaking, some stops along the way -- like a detour to visit Burt's suddenly single brother (Paul Schneider) -- feel dramatically off-course.
    • 45 Metascore
    • 50 Michael Rechtshaffen
    In a way, the film ultimately gets snagged in its own contraption.
    • 42 Metascore
    • 50 Michael Rechtshaffen
    Travolta has/is a blast in an action-thriller-comedy that otherwise comes up short.
    • 31 Metascore
    • 50 Michael Rechtshaffen
    Definitely has its amusing moments, but ultimately all that improvised shtick gets mighty tired without any real break in the nonaction.
    • 57 Metascore
    • 50 Michael Rechtshaffen
    Saving the day is Harrelson's low-key, rooted performance, adding an unexpected layer of poignancy when things take a decidedly darker turn.
    • 55 Metascore
    • 50 Michael Rechtshaffen
    What could have been a biting black comedy taking product placement to the logical extreme instead is so obviously predictable that even a savvy cast led by David Duchovny and Demi Moore can't sell it.
    • 65 Metascore
    • 50 Michael Rechtshaffen
    Never achieves the propulsive traction and outrageous/endearing balance that made "The Hangover" such a smash this time last year.
    • 30 Metascore
    • 50 Michael Rechtshaffen
    Despite the lazily self-satisfied results, his (Sandler) aging fan base likely will come along for the lackadaisical ride.
    • 56 Metascore
    • 50 Michael Rechtshaffen
    While its cast delivers uniformly breezy performances, most everything else about Ramona's move to the multiplex feels unremarkable.
    • 51 Metascore
    • 50 Michael Rechtshaffen
    Very much bearing the creative imprint of Robert Rodriguez, but directed by Nimrod Antal, the new edition, in its best moments, is an unabashed B-movie that plays like a jacked-up "Twilight Zone" with award-winning actors delivering the pulp-infused dialogue.
    • 63 Metascore
    • 50 Michael Rechtshaffen
    A backwoods psychological thriller delivered faux-documentary-style, with mixed results.
    • 56 Metascore
    • 50 Michael Rechtshaffen
    While Jackass 3D can never be accused of stinting on its spring-loaded arsenal of projectile bodily fluids, neither does it approach that sublime, laugh-until-it-hurts level of gross-out nirvana that made the first two installments so darned irresistible.
    • 53 Metascore
    • 50 Michael Rechtshaffen
    The movie comes up short on inspiration despite a stellar voice cast that includes James McAvoy and Emily Blunt and a toe-tapping songbook by Elton John and Bernie Taupin.
    • 48 Metascore
    • 50 Michael Rechtshaffen
    The clash of cultures isn't exactly groundbreaking but Qasim "Q" Basir's feature debut is told through the eyes of a young, black American Muslim, a perspective that has rarely been seen.
    • 27 Metascore
    • 50 Michael Rechtshaffen
    After a promisingly tart start, the strident satire stumbles and falls into a sitcom-y hole from which it never emerges, despite the game efforts of its dynamic ensemble.
    • 48 Metascore
    • 50 Michael Rechtshaffen
    When all is said and done, their Pulitzer-winning photographs prove more potent than this well-intended but frustratingly generic picture.
    • 54 Metascore
    • 50 Michael Rechtshaffen
    While Shearer admittedly makes an impassioned directorial debut, the film plays out like a data-heavy, extended investigative report with an academic emphasis on scientific findings over portraits of human suffering.
    • 33 Metascore
    • 50 Michael Rechtshaffen
    The film, both in scope and tone, has a downsized vibe that would have made it a much better fit on an ABC Family than in a movie theater.
    • 40 Metascore
    • 50 Michael Rechtshaffen
    To his credit, director Asger Leth (Ghosts of Cite Soleil) gets right to the business at hand where the set-up is concerned, but it's in the execution that this would-be thriller falls flat.
    • 41 Metascore
    • 50 Michael Rechtshaffen
    While superbly acted, the dramedy plays out like a tepid "Big Chill" at best.
    • 72 Metascore
    • 50 Michael Rechtshaffen
    ParaNorman is an amusing but only fitfully involving animated caper.
    • 50 Metascore
    • 50 Michael Rechtshaffen
    While leads Will Ferrell and Zach Galifianakis are amusingly on point as a pair of mud-slinging contenders for Congress, the platform is a wobbly political satire that flip-flops chaotically between clever and crass, never finding a sturdy comedic footing.
    • 36 Metascore
    • 50 Michael Rechtshaffen
    Billy Crystal and Bette Midler hustle to peddle the threadbare material that makes Andy Fickman's comedy a perfectly tolerable, if uninspired, moviegoing experience.
    • 39 Metascore
    • 50 Michael Rechtshaffen
    The Thor Freudenthal-helmed sequel lacks the energetic zip of its predecessor.
    • 39 Metascore
    • 50 Michael Rechtshaffen
    While visually engaging, this production of Disneytoon Studios -- it was originally slated to go direct-to-DVD -- lacks the sort of character depth and dramatic scope normally associated with the Pixar brand.
    • 37 Metascore
    • 50 Michael Rechtshaffen
    Walking With Dinosaurs takes rewarding advantage of a much bigger budget and state-of-the-art technology to bring its impressive collection of Cretaceous creatures to vivid life. But while the walking part’s pretty impressive, the talking part — not so much.
    • 36 Metascore
    • 50 Michael Rechtshaffen
    The production squeaks by on the visual charm of art director Ian Hastings’ period touches and warm autumnal hues. The voice talent is a decidedly mixed bag.
    • 36 Metascore
    • 40 Michael Rechtshaffen
    The problem once again remains an inability to sustain those de rigueur elements of tension and suspense much beyond those first 20 minutes.
    • 42 Metascore
    • 40 Michael Rechtshaffen
    Beckinsale delivers even if Underworld doesn't quite manage to follow through on its initial promise.
    • 43 Metascore
    • 40 Michael Rechtshaffen
    There seem to be some impressive performances here, though it's not always easy to tell because director James Cox is always feverishly cutting away to something or other.
    • 56 Metascore
    • 40 Michael Rechtshaffen
    This feature glimpse into the Bell Jar is an exercise in drudgery, with nothing particularly insightful or revealing to say about the charter member of the Suicidal Poets Society and the artistic endeavor in which she would make her indelible mark.
    • 49 Metascore
    • 40 Michael Rechtshaffen
    Ends up committing the spoof genre's worst crime: becoming a tired parody of itself.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Instantly forgettable.
    • 36 Metascore
    • 40 Michael Rechtshaffen
    Ryan and the rest of the cast are forced to slug it out with the kind of trite dialogue that seems to have been lifted straight off of those corporate inspirational posters.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    A tone-deaf muddle that shifts moods more often than its lone wolf vigilante rubs out bad guys, clocking in at a punishingly paced two hours and change.
    • 51 Metascore
    • 40 Michael Rechtshaffen
    A crass, clumsily constructed romantic comedy.
    • 30 Metascore
    • 40 Michael Rechtshaffen
    Plenty of salient points to make in this satirical cautionary tale, there's still not enough to sustain the expanded running time.
    • 53 Metascore
    • 40 Michael Rechtshaffen
    Mercilessly plodding pacing, problematic character motivations and a fundamental lack of chemistry between the two star-crossed lovers in question don't do a lot to help its cause.
    • 38 Metascore
    • 40 Michael Rechtshaffen
    Unfortunately, Twohy has tried to turn the Riddick enterprise into a sprawling, Tolkien-powered epic, jamming the screen with too many historical parallels and a confusion of new characters.
    • 27 Metascore
    • 40 Michael Rechtshaffen
    Unlike that widely appealing picture with the giant green ogre, this one's strictly for the kiddies.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    Essentially sleepwalks its way through a strictly by-the-numbers premise.
    • 53 Metascore
    • 40 Michael Rechtshaffen
    This non-secular variation on "The Usual Suspects" falls prey to a creeping structural rigor mortis that sets in early.
    • 29 Metascore
    • 40 Michael Rechtshaffen
    While the likable Seth Green, Matthew Lillard and Dax Shepard are definitely up to the comic excursion, the picture charts an uncertain course between wild and mild, eventually running aground in a pile of male-bonding muck.
    • 75 Metascore
    • 40 Michael Rechtshaffen
    After a while, the extremely limited camera movement and languid pacing take an exacting toll, resulting in a viewing experience that is considerably less than idyllic.
    • 47 Metascore
    • 40 Michael Rechtshaffen
    Even those who have never been exposed to the considerable charms of the Masayuki Suo original will likely find Peter Chelsom's all-American version of Shall We Dance? to be a dishearteningly sullen, lead-footed misstep.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Both the anticipation factor and writer-director Mick Garris' slick adaptation fail to live up to the old hype.
    • 41 Metascore
    • 40 Michael Rechtshaffen
    What might have achieved a degree of cult status across the pond when it was aired in 10-minute installments, struggles to pass big-screen scrutiny.
    • 35 Metascore
    • 40 Michael Rechtshaffen
    There are twist endings and there are twist endings -- and then there is the logic-strangling, complete cheat of a reveal that takes place in the final 10 minutes of Hide and Seek. It's so absolutely preposterous that it stops the film cold and draws a collective "Aw c'mon!"
    • 58 Metascore
    • 40 Michael Rechtshaffen
    An unwieldy, excessively talky affair, unintentionally exhibiting all the clunky stops and starts and self-conscious ramblings of a particularly awkward first date.
    • 44 Metascore
    • 40 Michael Rechtshaffen
    The director's split-screen effects and hand-held digital camerawork go from being innovative to repetitive to irritating in a Santa Cruz minute.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    Ultimately, Adam Moreno's screenplay, with its multiple narrators and constantly shifting points of view, makes for mighty confusing viewing.
    • 45 Metascore
    • 40 Michael Rechtshaffen
    Crammed with charmless characters and/or hammy performances.
    • 55 Metascore
    • 40 Michael Rechtshaffen
    Awfully dull, with scant evidence of the sort of things that make horror movies attractive -- like mounting suspense and spine-tingling creepiness and, oh yeah, the element of horror.
    • 42 Metascore
    • 40 Michael Rechtshaffen
    That outrageous third-act reveal proves to be a major deal-breaker.
    • 34 Metascore
    • 40 Michael Rechtshaffen
    The over-the-top tone gets stale awfully quickly -- especially once it becomes clear that it's all wacky style over any real attempt at substance.