Michael Rechtshaffen
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For 582 reviews, this critic has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Far Side of the Moon
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 74 out of 582
582 movie reviews
    • 62 Metascore
    • 50 Michael Rechtshaffen
    A charming supporting cast fails to invigorate Goodbye to All That, a relentlessly flat seriocomic take on contemporary relationships.
    • 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.
    • 44 Metascore
    • 50 Michael Rechtshaffen
    A Spanish-language black comedy with a frenetic style that plays out like regurgitated Tarantino and Guy Ritchie.
    • 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.
    • 57 Metascore
    • 50 Michael Rechtshaffen
    A wobbly comedy-drama.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Michael Rechtshaffen
    Ultimately unsatisfying.
    • 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.
    • 54 Metascore
    • 50 Michael Rechtshaffen
    Ends up having all the satisfying substance of a supermarket impulse item.
    • 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.
    • 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.
    • 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?
    • 50 Metascore
    • 50 Michael Rechtshaffen
    An initially intriguing plot line makes a messy getaway in this throwback heist movie.
    • 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.
    • 45 Metascore
    • 50 Michael Rechtshaffen
    In a way, the film ultimately gets snagged in its own contraption.
    • 30 Metascore
    • 50 Michael Rechtshaffen
    Despite the lazily self-satisfied results, his (Sandler) aging fan base likely will come along for the lackadaisical ride.
    • 63 Metascore
    • 50 Michael Rechtshaffen
    Definitely acquired-taste material and will perform best in the hipper, bigger rooms.
    • 53 Metascore
    • 50 Michael Rechtshaffen
    While there are plenty of madcap antics to fill a feature, all that manic energy ultimately proves to be more exhausting than exhilarating.
    • 39 Metascore
    • 50 Michael Rechtshaffen
    The Thor Freudenthal-helmed sequel lacks the energetic zip of its predecessor.
    • 34 Metascore
    • 50 Michael Rechtshaffen
    Despite the labors of leads Nicole Kidman and Will Ferrell, there's no screen magic being made here.
    • 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.
    • 46 Metascore
    • 50 Michael Rechtshaffen
    A blandly generic family film.
    • 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
    A thoroughly uninspiring drama that ultimately buckles under Michael Mayer's weighty direction.
    • 44 Metascore
    • 50 Michael Rechtshaffen
    The picture continuously shuffles moods like tunes on an iPod without ever making any lasting commitments.
    • 45 Metascore
    • 40 Michael Rechtshaffen
    The results are decidedly more mind-numbing than bone-chilling.
    • 38 Metascore
    • 40 Michael Rechtshaffen
    Even with the inspired choice of Steve Martin in the Clouseau role, this "Panther" picture is more bumbling and fumbling than the blissfully oblivious, accident-prone Inspector.
    • 63 Metascore
    • 40 Michael Rechtshaffen
    A dramatically inert, lethargic dramedy that isn't nearly as quirky and poignant is it perceives itself.
    • 49 Metascore
    • 40 Michael Rechtshaffen
    Less sex comedy and more Seth comedy would have made for a much livelier excursion.
    • 46 Metascore
    • 40 Michael Rechtshaffen
    In short, No. 4 is one big snore.
    • 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.
    • 53 Metascore
    • 40 Michael Rechtshaffen
    We, unfortunately, learn very little in this Earth Day release (originally completed in 2012) that we haven't seen before in more evolved, better focused documentaries.
    • 25 Metascore
    • 40 Michael Rechtshaffen
    It’s a loud Oz hodgepodge that never adheres to a prevailing tone long enough to allow viewers to emotionally engage with those characters in spite of some admittedly inspired CG flourishes.
    • 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.
    • 27 Metascore
    • 40 Michael Rechtshaffen
    Unlike that widely appealing picture with the giant green ogre, this one's strictly for the kiddies.
    • tbd Metascore
    • 40 Michael Rechtshaffen
    It might also have been nice to have included some archival footage that would have illustrated how little the Yukon River setting has changed over the last century, but Horvath appears to have no interest in digging any deeper.
    • 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.
    • 29 Metascore
    • 40 Michael Rechtshaffen
    The usually likable Bullock, obstructed by glaring continuity problems and often baffling character motivation, comes across as unsympathetically dazed and confused here, giving the viewer little reason to care about this desperate housewife's puzzling predicament.
    • 47 Metascore
    • 40 Michael Rechtshaffen
    A dreary dramedy of a road film that starts off ploddingly and proceeds to only grow more so as it crawls along.
    • 41 Metascore
    • 40 Michael Rechtshaffen
    Charmless sequel.
    • 42 Metascore
    • 40 Michael Rechtshaffen
    That outrageous third-act reveal proves to be a major deal-breaker.
    • 26 Metascore
    • 40 Michael Rechtshaffen
    This first feature by Jabbar Raisani is played out with considerable conviction on the part of its director and the tough-guy cast (led by Rick Ravanello), but the alien element is less convincing because of corny costumes and static-y special effects.
    • 29 Metascore
    • 40 Michael Rechtshaffen
    A soggy, listless affair, this would-be fun-in-the-sun sunken-treasure frivolity starts taking on water from the get-go, thanks to drawn-out exposition and languid pacing.
    • 43 Metascore
    • 40 Michael Rechtshaffen
    A shrill, far-fetched thriller.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    The more recent concert and backstage material, assembled by director Andy Grieve, lacks the energy and immediacy key to dynamic performance films.
    • 36 Metascore
    • 40 Michael Rechtshaffen
    It all begins to fall apart around the midway point, before completely unraveling into a confused, murky mess.
    • 34 Metascore
    • 40 Michael Rechtshaffen
    A textbook example of how not to mess with success, Cheaper by the Dozen 2 is every bit as forced, synthetic, banal and mawkish as the first edition.
    • 44 Metascore
    • 40 Michael Rechtshaffen
    The script is not without some perceptive observations about family dynamics, but the problematic tone keeps getting in the way. A little absurdist levity in these instances always helps to prevent things from becoming too maudlin, but in Stockman's hands, the played-for-laughs elements in this tragicomedy feel forced rather than organic, ultimately creating an emotional disconnect with the viewer.
    • 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!"
    • 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.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    A bigger-louder-dumber take on that good ol' CBS hillbilly hit, the movie version of "The Dukes of Hazzard" starts off on the wrong foot and keeps heading, appropriately, south.
    • 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.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    An uneven romantic comedy that feels as fresh as a hunk of week-old soda bread.
    • 48 Metascore
    • 40 Michael Rechtshaffen
    A painfully earnest but dramatically inert film.
    • 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.
    • 35 Metascore
    • 40 Michael Rechtshaffen
    The dull production obviously sees itself as an updated "Cincinnati Kid" for the World Poker Tour set, but the end result and its characters have all the originality and dramatic depth of a TV telecast.
    • 61 Metascore
    • 40 Michael Rechtshaffen
    An obvious "Ocean's Eleven" knockoff, minus any of that franchise's hip sensibility.
    • 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.
    • 32 Metascore
    • 40 Michael Rechtshaffen
    For a comedy, it's not really funny.
    • 49 Metascore
    • 40 Michael Rechtshaffen
    It's the kind of sprawling ensemble piece that screams out for a Pedro Almodovar, but in the absence of an Almodovar it simply screams out -- in persistent, tedious intervals.
    • 42 Metascore
    • 40 Michael Rechtshaffen
    Beckinsale delivers even if Underworld doesn't quite manage to follow through on its initial promise.
    • 49 Metascore
    • 40 Michael Rechtshaffen
    Ends up committing the spoof genre's worst crime: becoming a tired parody of itself.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    It admittedly starts off great guns, but all too quickly it becomes apparent that the big-screen arrival of the supernatural Western DC Comics series Jonah Hex"is firing loud, empty blanks.
    • 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.
    • 46 Metascore
    • 40 Michael Rechtshaffen
    Though the concept serves as a soul-stirring showcase for contemporary inspirational performers, the writing and direction (both attributed to Rob Hardy) commit a multitude of sins.
    • 34 Metascore
    • 40 Michael Rechtshaffen
    Combines purported raw case study footage with dramatic "recreations" to unsuccessful effect.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    Despite the overstuffed assortment of vampires, werewolves, warlocks and demons of all shapes and sizes, The Mortal Instruments seldom feels like anything more than a shameless, soulless knockoff.
    • 22 Metascore
    • 40 Michael Rechtshaffen
    Perhaps a greater passage of time was needed to provide a more effective historical perspective, but "Tiger" has a bigger problem with a dramatic structure that sags conspicuously in the middle, never to completely correct itself.
    • 51 Metascore
    • 40 Michael Rechtshaffen
    That it squanders a terrific cast in the process -- one that also includes Common, Phylicia Rashad and Pam Grier -- makes it all the more disappointing.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Both the anticipation factor and writer-director Mick Garris' slick adaptation fail to live up to the old hype.
    • 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.
    • 51 Metascore
    • 40 Michael Rechtshaffen
    The script, co-written by director Georgina Garcia Riedel and Jose Nestor Marquez, plays like a first draft that misses out on comic opportunities.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    In this lukewarm climate of pointless remakes and uninspired sequels there's always welcome room for a film that wants to push the envelope, Shadowboxer merely crams it with a lot of nonsense.
    • 43 Metascore
    • 40 Michael Rechtshaffen
    Not bad enough to be considered a camp, guilty pleasure, it's more of a dull, defanged dirge with the reliably intriguing Benicio Del Toro and Anthony Hopkins turning in oddly disaffected performances.
    • 52 Metascore
    • 40 Michael Rechtshaffen
    Director Will Cannon keeps the energy level cranked but over-amplifies the dramatics to shrill effect, resulting in an unfortunate tone that undermines the serious-minded intent.
    • 42 Metascore
    • 40 Michael Rechtshaffen
    Never really gets up to speed on any engrossing level, save for Michael Hardwick's notable cinematography.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Michael Rechtshaffen
    Hoodwinked occupies some considerably shaky turf situated uncomfortably between "Shrek" and dreck.
    • 30 Metascore
    • 40 Michael Rechtshaffen
    For all the digitally enhanced Smurfness, the results are remarkably mirthless.
    • 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.
    • 48 Metascore
    • 40 Michael Rechtshaffen
    Director Levy struggles to find a uniform pitch that would agreeably blend together the gags, the visual effects and the obligatory heart moments. In its absence, there's a stop-and-start hollowness that confuses noise and chaos for comic energy.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Visually inspired but thematically derivative.
    • 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.
    • tbd Metascore
    • 40 Michael Rechtshaffen
    Acher makes some astute observations about the contemporary dating scene, but this airless vehicle ultimately feels more like a stage piece than a feature proposition.
    • 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.
    • 51 Metascore
    • 40 Michael Rechtshaffen
    A crass, clumsily constructed romantic comedy.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    Essentially sleepwalks its way through a strictly by-the-numbers premise.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Instantly forgettable.
    • 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.
    • 40 Metascore
    • 40 Michael Rechtshaffen
    A colossal snore.
    • 47 Metascore
    • 40 Michael Rechtshaffen
    Hotel Transylvania checks in as an anemic example of pure concept over precious little content.
    • 32 Metascore
    • 40 Michael Rechtshaffen
    If "This Christmas" served up a crowd-pleasing portion of yuletide "Soul Food," then The Perfect Holiday offers dried-out leftovers.
    • 17 Metascore
    • 40 Michael Rechtshaffen
    Without the gore, this old school slasher rehash is one anemic bore.
    • 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.
    • 26 Metascore
    • 40 Michael Rechtshaffen
    Its release calculated to coincide with the X Games, Supercross: The Movie is advertainment to the extreme.

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