Michael Rechtshaffen
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For 506 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 1.5 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Hellboy II: The Golden Army
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 59 out of 506
506 movie reviews
    • 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.
    • 45 Metascore
    • 40 Michael Rechtshaffen
    Part war drama, part political thriller, part romance -- and wholly uninvolving.
    • 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.
    • 32 Metascore
    • 40 Michael Rechtshaffen
    The Hills Have Eyes 2 proves that even grisly, gory violence can be awfully boring.
    • 61 Metascore
    • 40 Michael Rechtshaffen
    An obvious "Ocean's Eleven" knockoff, minus any of that franchise's hip sensibility.
    • 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.
    • 46 Metascore
    • 40 Michael Rechtshaffen
    In short, No. 4 is one big snore.
    • 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.
    • 17 Metascore
    • 40 Michael Rechtshaffen
    Without the gore, this old school slasher rehash is one anemic bore.
    • 43 Metascore
    • 40 Michael Rechtshaffen
    A shrill, far-fetched thriller.
    • 49 Metascore
    • 40 Michael Rechtshaffen
    Less sex comedy and more Seth comedy would have made for a much livelier excursion.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Instantly forgettable.
    • 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.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Both the anticipation factor and writer-director Mick Garris' slick adaptation fail to live up to the old hype.
    • 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.
    • 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.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    Essentially sleepwalks its way through a strictly by-the-numbers premise.
    • 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.
    • 49 Metascore
    • 40 Michael Rechtshaffen
    Ends up committing the spoof genre's worst crime: becoming a tired parody of itself.
    • 51 Metascore
    • 40 Michael Rechtshaffen
    A crass, clumsily constructed romantic comedy.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 38 Metascore
    • 40 Michael Rechtshaffen
    Sets out to be a baby "Big Chill" but plays out like an unsold Fox pilot.
    • 32 Metascore
    • 40 Michael Rechtshaffen
    For a comedy, it's not really funny.
    • 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.
    • 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.
    • 42 Metascore
    • 40 Michael Rechtshaffen
    Never really gets up to speed on any engrossing level, save for Michael Hardwick's notable cinematography.
    • 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.
    • 63 Metascore
    • 40 Michael Rechtshaffen
    A dramatically inert, lethargic dramedy that isn't nearly as quirky and poignant is it perceives itself.
    • 42 Metascore
    • 40 Michael Rechtshaffen
    Banal dialogue, over-modulated performances and melodramatic scoring combine forces to sink the stirringly photographed proceedings quicker than that treacherous flash flood.
    • 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.
    • 30 Metascore
    • 40 Michael Rechtshaffen
    For all the digitally enhanced Smurfness, the results are remarkably mirthless.
    • 47 Metascore
    • 40 Michael Rechtshaffen
    Hotel Transylvania checks in as an anemic example of pure concept over precious little content.
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 30 Michael Rechtshaffen
    Along comes Elektra to effectively lower the bar for Marvel Comics page-to-screen transitions.
    • 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.
    • 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.
    • 36 Metascore
    • 30 Michael Rechtshaffen
    Smultaneously silly, ostentatious and terribly boring.
    • 41 Metascore
    • 30 Michael Rechtshaffen
    A disappointingly dreary affair.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 25 Metascore
    • 30 Michael Rechtshaffen
    Proves to be more prone to malfunction than dysfunction.
    • 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.
    • 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.
    • 29 Metascore
    • 30 Michael Rechtshaffen
    Strictly old hat -- and a poorly assembled hat at that.
    • 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.
    • 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.
    • 31 Metascore
    • 30 Michael Rechtshaffen
    It's like being trapped for an hour-and-a-half in a pound full of yappy puppies.
    • 21 Metascore
    • 30 Michael Rechtshaffen
    An unmitigated B-movie that isn't thrilling enough or cheesy enough to make it worth the trip.
    • 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.
    • 44 Metascore
    • 30 Michael Rechtshaffen
    Gratingly unfunny groaner littered with zero-dimensional, unlikable characters and hackneyed, threadbare comic setups.
    • 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.
    • tbd Metascore
    • 30 Michael Rechtshaffen
    A limp sex comedy about men behaving badly.
    • 41 Metascore
    • 30 Michael Rechtshaffen
    With the exception of a decent train-top chase, Torque is all vroom and no action.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 30 Michael Rechtshaffen
    A dysfunctional drama.
    • 50 Metascore
    • 30 Michael Rechtshaffen
    The most appreciative audience for this lame National Lampoon release likely will be guys in tour buses.
    • 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.
    • 22 Metascore
    • 30 Michael Rechtshaffen
    The result proves to be as appealing and effervescent as a flute of flat champagne.
    • 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.
    • 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.
    • 20 Metascore
    • 20 Michael Rechtshaffen
    Loud, mean-spirited and generally obnoxious, Son of the Mask makes the boisterous 1994 original look downright demure and refined.
    • 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.
    • 31 Metascore
    • 20 Michael Rechtshaffen
    An acutely misguided, purported satire dealing with the prickly subject of child molestation.
    • 21 Metascore
    • 20 Michael Rechtshaffen
    So blatantly not funny that it might as well have been called "National Geographic's Van Wilder 2."
    • 17 Metascore
    • 20 Michael Rechtshaffen
    A monumentally unfunny time-waster.
    • 35 Metascore
    • 20 Michael Rechtshaffen
    It's all quite a mess, with awkward performances, worse dialogue and a painfully protracted running time conspiring against any chance of enjoyment, even in a so-bad-it's-good guilty pleasure way.
    • 23 Metascore
    • 20 Michael Rechtshaffen
    D-grade "Running Man" ripoff.
    • 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.
    • 17 Metascore
    • 20 Michael Rechtshaffen
    This ridiculous thriller would be hard-pressed to last much longer than its title in theaters before doing time on DVD, as is already the case in many overseas territories.
    • 29 Metascore
    • 20 Michael Rechtshaffen
    In the absence of a sturdy, plausible foundation on which to hook all those grisly bits, the film, originally a Dimension release, tends to play out more like a protracted "Saw" outtake reel.
    • 39 Metascore
    • 20 Michael Rechtshaffen
    Tediously one-note comedy.
    • 37 Metascore
    • 20 Michael Rechtshaffen
    Witless, excessive and ultimately boring gore-a-thon.
    • 41 Metascore
    • 20 Michael Rechtshaffen
    A crass, sophomoric and, more to the point, offensively unfunny parody that sets out to remake Shaft and his blaxploitation ilk as a Jewish action hero.
    • 14 Metascore
    • 20 Michael Rechtshaffen
    A cliched, talky variation on the 1936 Bogie classic "The Petrified Forest," with scant dramatic tension but gallons of spilled blood on the menu.
    • 24 Metascore
    • 20 Michael Rechtshaffen
    Every bit as frantic, frenetic, groan-inducing and all around grating as its two predecessors.
    • 26 Metascore
    • 10 Michael Rechtshaffen
    A towering heap of nihilistic nonsense that plays like a cornball "Children of God."
    • 9 Metascore
    • 10 Michael Rechtshaffen
    One of those rare instances of a movie being so bad ... it's still really bad.