Michael Rechtshaffen
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For 602 reviews, this critic has graded:
  • 59% higher than the average critic
  • 5% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 2.5 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Up
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 81 out of 602
602 movie reviews
    • tbd Metascore
    • 60 Michael Rechtshaffen
    It's very much in "A League of Their Own" league, but what the inspirational sports drama Believe in Me might lack in freshness, it nicely compensates for in heartfelt, winning conviction and spirited performances.
    • 54 Metascore
    • 60 Michael Rechtshaffen
    No doubt about it, the show's certifiably bizarro, stream-of-consciousness sensibility has made the transition notably intact, which should please its young male fan base.
    • 38 Metascore
    • 60 Michael Rechtshaffen
    Boasting two terrific performances by Uma Thurman and Evan Rachel Wood as the adult and teenage versions of the same character.
    • 55 Metascore
    • 60 Michael Rechtshaffen
    Baby Boom serves up plenty of smart, knowing laughs early on, but by the time it hits the third act (or would that be trimester?), it barely crawls to the finish line.
    • 53 Metascore
    • 60 Michael Rechtshaffen
    Unfortunately, where episodes of the series used to take their cue from a question posed by one of Carrie's columns, writer-director Michael Patrick King never finds that focus, and Sex and the City loses its tart edge in the process.
    • 57 Metascore
    • 60 Michael Rechtshaffen
    This first feature by veteran visual effects supervisor Eric Brevig has its transporting, if benign, charms.
    • 64 Metascore
    • 60 Michael Rechtshaffen
    Although it has its involving moments, the watered-down Waugh fails to make any kind of lasting connection.
    • 58 Metascore
    • 60 Michael Rechtshaffen
    That butting of heads, as performed by actors as strong and soulful as Craig and Schreiber, lends Defiance an emotional charge, even as the film itself struggles dramatically to find its way out of those woods.
    • 53 Metascore
    • 60 Michael Rechtshaffen
    The flatly generic results certainly appear at odds with the picture's stirring visual style, which pays homage to the great Flemish artists.
    • 53 Metascore
    • 60 Michael Rechtshaffen
    Derivative bits aside, the pint-sized Japanese icon takes flight in vibrant CG animation -- no 3D glasses required.
    • 47 Metascore
    • 60 Michael Rechtshaffen
    There are sufficient pratfalls and Miley/Hannah quick-changes to satisfy the fans, while Cyrus retains that natural, unforced likability that made her a star in the first place.
    • 42 Metascore
    • 60 Michael Rechtshaffen
    Some of that frenetic running around has been replaced by inspired effects sequences and amusing riffs by the talented cast, especially new arrivals Hank Azaria and Amy Adams.
    • 55 Metascore
    • 60 Michael Rechtshaffen
    Curiously, despite the ever-energetic Tony Scott at the throttle, the sleek new edition isn't as transporting as it should have been.
    • 47 Metascore
    • 60 Michael Rechtshaffen
    If Weather Girl were to furnish its own forecast, it would be something along the lines of "Warm and breezy before becoming overcast and muggy late in the day."
    • 45 Metascore
    • 60 Michael Rechtshaffen
    While several of the dance sequences admittedly pack a visual pop, the added dimension does the hokey scripting and some of the acting no favors by amplifying their already noticeable shortcomings.
    • 38 Metascore
    • 60 Michael Rechtshaffen
    Amusing, but formulaic, romantic comedy.
    • 40 Metascore
    • 60 Michael Rechtshaffen
    Although the film has its undeniably immersive, convincing moments, the merging of dramatic re-creations and on-camera "performances" proves less seamlessly executed than those masterfully coordinated land, sea and air missions.
    • 52 Metascore
    • 60 Michael Rechtshaffen
    Emotions run raw in this behind-the-scenes look at drummer Patty Schemel and her drug-fuelled run with the 90s grunge rock band, Hole.
    • 51 Metascore
    • 60 Michael Rechtshaffen
    As executed by an appealing ensemble of smooth operators, this adaptation often hits its amusing marks, but with a weighty running time of two hours, it often feels more like a lecture than an intended romp.
    • 50 Metascore
    • 60 Michael Rechtshaffen
    Thanks to a sparkling ensemble headed by Francois Cluzet and Marion Cotillard, the familiar backdrop still provides ample opportunity for audience pleasing in Guillaume Canet's nicely observed dramatic comedy.
    • 39 Metascore
    • 60 Michael Rechtshaffen
    More of a character-etched mood piece than a tautly calibrated caper, Dead Man Down benefits from potent visuals and a compelling international cast that also includes lead Colin Farrell, Terrence Howard and Isabelle Huppert.
    • 44 Metascore
    • 60 Michael Rechtshaffen
    Proves lightly entertaining in spite of its more heartfelt tendencies.
    • 51 Metascore
    • 60 Michael Rechtshaffen
    Steeped in high-tech paranoia, Winkler's film has a nice kinetic energy, effectively portraying the extent to which computers have become an intrinsic part of our lives. The screenplay, however, for which Winkler shares credit with four others, feels like watered-down John Grisham. [24 July 1995]
    • The Hollywood Reporter
    • 41 Metascore
    • 60 Michael Rechtshaffen
    Although some of the supporting performances can be a bit choppy, director Schirmer sets an effectively unsettling naturalistic visual tone, bathing all those dark impulses in sunny Indiana daylight.
    • 45 Metascore
    • 60 Michael Rechtshaffen
    Stepping behind the camera, versatile actor Dylan Baker makes an assured directorial debut, drawing spirited performances from his seasoned cast while mainly steering clear of the usual, treacly movie-of-the week conventions that often go with the territory.
    • 52 Metascore
    • 60 Michael Rechtshaffen
    While Disney’s Tinker Bell and the Legend of the NeverBeast might not ever be accused of risk-taking, the new adventure does feel a shade or two darker than previous installments.
    • 62 Metascore
    • 60 Michael Rechtshaffen
    Rather than further expanding those seemingly limitless SpongeBob horizons, the live action/CG stuff never satisfyingly jibes with the traditional nautical nonsense down below.
    • 51 Metascore
    • 60 Michael Rechtshaffen
    Alexs Stadermann, directing from a script by Marcus Sauermann and Fin Edquist, keeps the story humming along genially, while the voice cast, also including Miriam Margoyles as the kindly Queen and Jacki Weaver as her conniving royal advisor, provides the spirited uplift.
    • 22 Metascore
    • 50 Michael Rechtshaffen
    The storytelling has all the dramatic complexity of a paint-by-numbers set, and you know exactly where all this is headed from the get-go.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    A film that would have been more potent had it been a 40-minute short rather than a feature-length proposition.
    • 53 Metascore
    • 50 Michael Rechtshaffen
    In the absence of a more conventional storytelling approach, this series of brief, fragmented glimpses of the harsh challenges that shaped Lincoln's early life never allows you to get sufficiently close to its celebrated subject.
    • 23 Metascore
    • 50 Michael Rechtshaffen
    Although the resulting tonal shifts between funny and serious aren't always executed as seamlessly as they might be, Khoury deserves props for defying rom-com conventions more often than he succumbs to them.
    • 62 Metascore
    • 50 Michael Rechtshaffen
    A charming supporting cast fails to invigorate Goodbye to All That, a relentlessly flat seriocomic take on contemporary relationships.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    A technically impressive but talky sci-fi drama that never quite comes to life.
    • 43 Metascore
    • 50 Michael Rechtshaffen
    All three actors turn in solid, committed performances despite physically limiting surroundings, even as you're left with the inescapable feeling that this raft has sailed.
    • 49 Metascore
    • 50 Michael Rechtshaffen
    Bates and co-writer Mark Bruner seem to be going for a satirical tone that falls somewhere between David Lynch and Seth Rogen, but deliberately cheesy effects and a sluggish pace sink the early potential.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    Screenwriter Victor Hawks' inclusive, all-God's-children message is above reproach, but his lead character is ultimately too good for the movie's own good.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    This portrait of strong, independent women grappling with change in their individual lives holds initial allure, but the effect proves ephemeral.
    • 51 Metascore
    • 50 Michael Rechtshaffen
    The Forecaster, a documentary study of the rise and fall of commodities advisor Martin Armstrong, would have paid greater dividends by taking a more impartial approach to its subject.
    • 54 Metascore
    • 50 Michael Rechtshaffen
    Although the performances are uniformly on point and the dialogue is tartly British, the film ultimately fails to earn its riotous stripes.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    Groundswell Rising is an undeniably passionate but frustratingly one-sided examination of the controversial method of gas extraction.
    • 53 Metascore
    • 50 Michael Rechtshaffen
    Although the results could never be accused of being uneventful, the characters cry out for deeper, more complex dimensions than simply the wide-eyed dreamer and the rhetoric-spewing agitator on display here.
    • 47 Metascore
    • 50 Michael Rechtshaffen
    A big fluff ball of a sex farce that's so light and flimsy it's a wonder they were able to thread it through the projector.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    The cheap and cheerful picture has its humorous moments thanks to Steven P. Baer's broad but buoyant script and a supporting cast of character actors who know how to hit a good line home.
    • 55 Metascore
    • 50 Michael Rechtshaffen
    A fresh, young energetic cast is this wobbly musical comedy's main claim to "Fame."
    • 56 Metascore
    • 50 Michael Rechtshaffen
    Maybe Roth was too busy paying tribute to all his childhood influences to take the necessary steps, but even in this uneasy era of SARS and other airborne horrors, his flesh-eating virus movie never convincingly gets under the skin.
    • 46 Metascore
    • 50 Michael Rechtshaffen
    Emerges as a frustrating cop-out.
    • 38 Metascore
    • 50 Michael Rechtshaffen
    For a while there, Mathieu Kassovitz's atmospherically charged direction sucks the viewer into the story's hellish vortex. That is until the film becomes possessed by an increasingly ludicrous beyond-the-grave element from which there is no rational return.
    • 46 Metascore
    • 50 Michael Rechtshaffen
    Thanks to Martin and Hunt, who both have a seemingly casual flair for mining laughs from even the most generic lines of dialogue, Cheaper by the Dozen works better than it might have in less capable hands, but even they're challenged by some of the picture's forced mood swings.
    • 60 Metascore
    • 50 Michael Rechtshaffen
    Ultimately unsatisfying.
    • 58 Metascore
    • 50 Michael Rechtshaffen
    When there's a whole mess of zombie killing to be done, who cares about reflective writing or that time-wasting element of suspense?
    • 57 Metascore
    • 50 Michael Rechtshaffen
    A wobbly comedy-drama.
    • 31 Metascore
    • 50 Michael Rechtshaffen
    The laughs tend to come in fits and starts, built around individual set pieces rather than being generated organically out of the storytelling.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    Awkward comic timing and uneven performances spoil the desired effect.
    • 46 Metascore
    • 50 Michael Rechtshaffen
    Jamie Foxx finds his funny bone is firmly intact in the effervescent, urban-flavored romantic comedy Breakin' all the Rules.
    • 62 Metascore
    • 50 Michael Rechtshaffen
    Attempts to pass itself off as a fast-paced caper picture doubling as a socially conscious apartheid drama but ends up equally unconvincing in both departments.
    • 47 Metascore
    • 50 Michael Rechtshaffen
    An often funny if slight satire that's never as edgy as it thinks it is or as sharply focused as it needs to be.
    • 47 Metascore
    • 50 Michael Rechtshaffen
    While it certainly looks swell thanks to director John Moore's striking visuals, the wings of this rebuilt "Phoenix" have been clipped by generic scripting and a short supply of dramatic tension.
    • 39 Metascore
    • 50 Michael Rechtshaffen
    An awkward blend of live action and animation.
    • 54 Metascore
    • 50 Michael Rechtshaffen
    Can't decide what it wants to be when it grows up.
    • 43 Metascore
    • 50 Michael Rechtshaffen
    The drama gets stuck in a dispiritingly dull rut and fails to build toward what is supposed to be a something of a crowd-rousing triumph over adversity.
    • 38 Metascore
    • 50 Michael Rechtshaffen
    An often imaginative though less than magical family feature.
    • 34 Metascore
    • 50 Michael Rechtshaffen
    Despite the labors of leads Nicole Kidman and Will Ferrell, there's no screen magic being made here.
    • 23 Metascore
    • 50 Michael Rechtshaffen
    Every bit as vulgar, sophomoric and thoroughly tasteless as 1999's Deuce Bigalow: Male Gigolo. But what is most annoying is the sequel's capability of inducing laughter even as one hates oneself for so easily succumbing to the total silliness of it all.
    • 44 Metascore
    • 50 Michael Rechtshaffen
    A Spanish-language black comedy with a frenetic style that plays out like regurgitated Tarantino and Guy Ritchie.
    • 42 Metascore
    • 50 Michael Rechtshaffen
    G
    Despite the updated setting and some on-the-money performances, the sleek if dramatically flimsy results make for a less than great "Gatsby."
    • 52 Metascore
    • 50 Michael Rechtshaffen
    While the juvenile performances are bright and engaging, and there's no shortage of genuinely humorous observations about love and life in the Big Apple, there's an inescapable small-screen dynamic to the scope and rhythm of the production.
    • 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.

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