Michael Rechtshaffen

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For 680 reviews, this critic has graded:
  • 58% higher than the average critic
  • 6% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 3.1 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:
680 movie reviews
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 30 Michael Rechtshaffen
    The most appreciative audience for this lame National Lampoon release likely will be guys in tour buses.
    • 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.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 30 Michael Rechtshaffen
    The melody may be as old as the Bible, but The Song could have benefited from a fresher voice.
    • 41 Metascore
    • 30 Michael Rechtshaffen
    With the exception of a decent train-top chase, Torque is all vroom and no action.
    • 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.
    • 41 Metascore
    • 30 Michael Rechtshaffen
    A disappointingly dreary affair.
    • 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.
    • 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.
    • 39 Metascore
    • 20 Michael Rechtshaffen
    Tediously one-note comedy.
    • 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.
    • 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.
    • 37 Metascore
    • 20 Michael Rechtshaffen
    Witless, excessive and ultimately boring gore-a-thon.
    • 37 Metascore
    • 30 Michael Rechtshaffen
    As vapidly generic as its title, British director Scott Mann's Heist is a by-the-numbers crime thriller that squanders a decent cast, including Robert De Niro, Jeffrey Dean Morgan and Dave Bautista.
    • 37 Metascore
    • 20 Michael Rechtshaffen
    Rather than sticking with that entirely workable setup, writer-director Martin keeps distractedly flip-flopping back and forth in time leading up to the big heist, preventing the plotting from building any tangible tension.
    • 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.
    • 36 Metascore
    • 30 Michael Rechtshaffen
    An unpleasant exercise in self-indulgence
    • 36 Metascore
    • 30 Michael Rechtshaffen
    Smultaneously silly, ostentatious and terribly boring.
    • 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.
    • 36 Metascore
    • 30 Michael Rechtshaffen
    Director Grau seems to be making up the film as he goes along — never a good idea when tackling the sort of genre piece that requires building tension and some semblance of dread to succeed.
    • 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.
    • 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.
    • 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.

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