Michael Rechtshaffen
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For 538 reviews, this critic has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 1.7 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Up
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 66 out of 538
538 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 46 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.
    • 18 Metascore
    • 20 Michael Rechtshaffen
    An unholy mess co-produced by Cameron's faith-based Camfam Studios.
    • 31 Metascore
    • 20 Michael Rechtshaffen
    Inept on every level, Panic 5 Bravo is a virtually unwatchable, blood-soaked crime drama serving as the writing-directing debut of actor Kuno Becker.
    • 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.
    • 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.
    • 39 Metascore
    • 20 Michael Rechtshaffen
    Tediously one-note comedy.
    • 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.
    • 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.
    • 15 Metascore
    • 10 Michael Rechtshaffen
    Has the crass look and feel of a 90-minute infomercial.
    • 9 Metascore
    • 10 Michael Rechtshaffen
    One of those rare instances of a movie being so bad ... it's still really bad.

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