Michael Rechtshaffen
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For 591 reviews, this critic has graded:
  • 59% higher than the average critic
  • 5% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Michael Rechtshaffen's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Up
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 75 out of 591
591 movie reviews
    • 51 Metascore
    • 40 Michael Rechtshaffen
    That it squanders a terrific cast in the process -- one that also includes Common, Phylicia Rashad and Pam Grier -- makes it all the more disappointing.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Both the anticipation factor and writer-director Mick Garris' slick adaptation fail to live up to the old hype.
    • 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.
    • 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.
    • tbd 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.
    • 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.
    • 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.

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