Michael Rechtshaffen
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For 576 reviews, this critic has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 1.9 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Far Side of the Moon
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 71 out of 576
576 movie reviews
    • tbd Metascore
    • 50 Michael Rechtshaffen
    The cheap and cheerful picture has its humorous moments thanks to Steven P. Baer's broad but buoyant script and a supporting cast of character actors who know how to hit a good line home.
    • 56 Metascore
    • 50 Michael Rechtshaffen
    While its cast delivers uniformly breezy performances, most everything else about Ramona's move to the multiplex feels unremarkable.
    • 42 Metascore
    • 50 Michael Rechtshaffen
    You'd think the team of Rob Reiner, Jack Nicholson and Morgan Freeman might have had the right stuff. Alas, their labored efforts fail to lift The Bucket List out of its flatlining state.
    • 41 Metascore
    • 50 Michael Rechtshaffen
    There's seldom a dull moment -- but nor are there any that allow viewers young or old to invest in its elite team of furry characters to any satisfying or lasting degree despite the presence of an energetic voice cast.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    Delusions of Guinevere is a savvy if uneven satire.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    Awkward comic timing and uneven performances spoil the desired effect.
    • 40 Metascore
    • 50 Michael Rechtshaffen
    This flaccid psychological thriller keeps spoiling its own surprise by constantly signaling the big plot twist.
    • 51 Metascore
    • 50 Michael Rechtshaffen
    The Forecaster, a documentary study of the rise and fall of commodities advisor Martin Armstrong, would have paid greater dividends by taking a more impartial approach to its subject.
    • 49 Metascore
    • 50 Michael Rechtshaffen
    Bates and co-writer Mark Bruner seem to be going for a satirical tone that falls somewhere between David Lynch and Seth Rogen, but deliberately cheesy effects and a sluggish pace sink the early potential.
    • 37 Metascore
    • 50 Michael Rechtshaffen
    The production squeaks by on the visual charm of art director Ian Hastings’ period touches and warm autumnal hues. The voice talent is a decidedly mixed bag.
    • 62 Metascore
    • 50 Michael Rechtshaffen
    Attempts to pass itself off as a fast-paced caper picture doubling as a socially conscious apartheid drama but ends up equally unconvincing in both departments.
    • 42 Metascore
    • 50 Michael Rechtshaffen
    Travolta has/is a blast in an action-thriller-comedy that otherwise comes up short.
    • 47 Metascore
    • 50 Michael Rechtshaffen
    A big fluff ball of a sex farce that's so light and flimsy it's a wonder they were able to thread it through the projector.
    • 51 Metascore
    • 50 Michael Rechtshaffen
    Very much bearing the creative imprint of Robert Rodriguez, but directed by Nimrod Antal, the new edition, in its best moments, is an unabashed B-movie that plays like a jacked-up "Twilight Zone" with award-winning actors delivering the pulp-infused dialogue.
    • 48 Metascore
    • 50 Michael Rechtshaffen
    When all is said and done, their Pulitzer-winning photographs prove more potent than this well-intended but frustratingly generic picture.
    • 34 Metascore
    • 50 Michael Rechtshaffen
    Directed with aching purpose by Lawrence David Foldes from a script he wrote with Grafton S. Harper, the lavish-looking but hackneyed memory play is small-screen fodder at best.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    A technically impressive but talky sci-fi drama that never quite comes to life.
    • 53 Metascore
    • 50 Michael Rechtshaffen
    In the absence of a more conventional storytelling approach, this series of brief, fragmented glimpses of the harsh challenges that shaped Lincoln's early life never allows you to get sufficiently close to its celebrated subject.
    • 43 Metascore
    • 50 Michael Rechtshaffen
    A little charm and inventiveness would have gone a long way to tone down some of the picture's more obnoxious impulses.
    • 58 Metascore
    • 50 Michael Rechtshaffen
    Though it's nice to see Mendes take a looser, not quite so studied approach to his filmmaking, some stops along the way -- like a detour to visit Burt's suddenly single brother (Paul Schneider) -- feel dramatically off-course.
    • 63 Metascore
    • 50 Michael Rechtshaffen
    A backwoods psychological thriller delivered faux-documentary-style, with mixed results.
    • 39 Metascore
    • 50 Michael Rechtshaffen
    A tasteful melodrama courtesy of the easy chemistry between its two leads and a generally restrained touch from Tony-winning director George C. Wolfe in his feature debut.
    • 38 Metascore
    • 50 Michael Rechtshaffen
    An often imaginative though less than magical family feature.
    • 72 Metascore
    • 50 Michael Rechtshaffen
    ParaNorman is an amusing but only fitfully involving animated caper.
    • 47 Metascore
    • 50 Michael Rechtshaffen
    While it certainly looks swell thanks to director John Moore's striking visuals, the wings of this rebuilt "Phoenix" have been clipped by generic scripting and a short supply of dramatic tension.
    • 40 Metascore
    • 50 Michael Rechtshaffen
    Will primarily strike a chord with Latina-skewing audiences with minimal crossover potential.
    • 47 Metascore
    • 50 Michael Rechtshaffen
    While Heigl is terrific, this uninspired romantic comedy is considerably less so.
    • 38 Metascore
    • 50 Michael Rechtshaffen
    Unable to decide whether it wants to be a rambunctious family comedy or a tender romantic comedy, the Dennis Quaid-Rene Russo vehicle strains to be both and ends up falling short of both marks.
    • 48 Metascore
    • 50 Michael Rechtshaffen
    The clash of cultures isn't exactly groundbreaking but Qasim "Q" Basir's feature debut is told through the eyes of a young, black American Muslim, a perspective that has rarely been seen.
    • 65 Metascore
    • 50 Michael Rechtshaffen
    A darker, grittier creature that, while benefiting considerably from Dion Beebe's HD cinematography, is a frustratingly inert affair -- a long and talky excursion that fails to engage the viewer from the outset.

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