Michael Rechtshaffen

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For 819 reviews, this critic has graded:
  • 56% higher than the average critic
  • 7% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 5 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:
819 movie reviews
    • 26 Metascore
    • 10 Michael Rechtshaffen
    A towering heap of nihilistic nonsense that plays like a cornball "Children of God."
    • 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
    [An] annoyingly oblique exercise in arty affectation.
    • 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
    Had the film and its poky lead characters at least managed to pick up the sluggish pace, experiencing Buddymoon wouldn’t have felt like such a slog.
    • 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.
    • 48 Metascore
    • 30 Michael Rechtshaffen
    In the end, you'll either succumb to the silliness of it all and cheer Johnny B. on to his green card or, more likely, be in desperate need of your own exit visa.
    • 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.
    • 43 Metascore
    • 30 Michael Rechtshaffen
    [A] misguided hybrid that makes tediously clear from the outset that the conceit just isn’t working.
    • 42 Metascore
    • 30 Michael Rechtshaffen
    The melody may be as old as the Bible, but The Song could have benefited from a fresher voice.
    • 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.
    • 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.
    • 39 Metascore
    • 30 Michael Rechtshaffen
    The childhood years of Brazil’s national treasure have been given a lamentably pedestrian big-screen treatment by Pelé: Birth of a Legend.
    • 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.
    • 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.

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