Michael Rechtshaffen

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For 848 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 5.6 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Cinderella Man
Lowest review score: 0 I Know Who Killed Me
Score distribution:
848 movie reviews
    • 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.
    • 34 Metascore
    • 40 Michael Rechtshaffen
    It’s as if co-directors Michael Thurmeier and Galen Tan Chu, both veterans of the Ice Age franchise, sensed that there was essentially nowhere left to go with the concept and opted to instead overstuff the production with too many characters breathlessly doing tired, pop culture-heavy “bits” like it was open mic night at the Paleolithic Punch Line.
    • 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.
    • 43 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.
    • tbd Metascore
    • 40 Michael Rechtshaffen
    Michael Mueller’s character-driven script is about the only thing that feels driven in this otherwise listless vehicle, and “The Beat Beneath My Feet” conveys all the pulse-pounding energy of a funeral procession.
    • 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.
    • 35 Metascore
    • 40 Michael Rechtshaffen
    While a fictionalized account of Lee’s career certainly held some sex, drugs & rock ’n’ roll potential, the blandly pedestrian film Spaceman seldom delivers despite an engagingly game lead performance by Josh Duhamel.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Michael Rechtshaffen
    Part war drama, part political thriller, part romance -- and wholly uninvolving.
    • 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.
    • 39 Metascore
    • 40 Michael Rechtshaffen
    The plodding film goes awfully heavy on script exposition and all too light on character depth, leaving Cage and company — including a smartly cast Peter Fonda as his been-there, done-that alcoholic dad — to come up with their own complexity.
    • 32 Metascore
    • 40 Michael Rechtshaffen
    The visually stirring format proves unable to lift the story and performances out of a prevailing, airless stupor.
    • 38 Metascore
    • 40 Michael Rechtshaffen
    Sets out to be a baby "Big Chill" but plays out like an unsold Fox pilot.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    This lifeless, talky, family-oriented feature never manages to rise to the occasion of its witty title.
    • 45 Metascore
    • 40 Michael Rechtshaffen
    Crammed with charmless characters and/or hammy performances.
    • 32 Metascore
    • 40 Michael Rechtshaffen
    The Hills Have Eyes 2 proves that even grisly, gory violence can be awfully boring.
    • 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.

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