Michael Rechtshaffen

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For 829 reviews, this critic has graded:
  • 55% higher than the average critic
  • 8% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 5.2 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Toy Story
Lowest review score: 0 I Know Who Killed Me
Score distribution:
829 movie reviews
    • 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.

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