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 Kinsey
Lowest review score: 0 I Know Who Killed Me
Score distribution:
680 movie reviews
    • 41 Metascore
    • 50 Michael Rechtshaffen
    While superbly acted, the dramedy plays out like a tepid "Big Chill" at best.
    • 72 Metascore
    • 50 Michael Rechtshaffen
    ParaNorman is an amusing but only fitfully involving animated caper.
    • 50 Metascore
    • 50 Michael Rechtshaffen
    While leads Will Ferrell and Zach Galifianakis are amusingly on point as a pair of mud-slinging contenders for Congress, the platform is a wobbly political satire that flip-flops chaotically between clever and crass, never finding a sturdy comedic footing.
    • 36 Metascore
    • 50 Michael Rechtshaffen
    Billy Crystal and Bette Midler hustle to peddle the threadbare material that makes Andy Fickman's comedy a perfectly tolerable, if uninspired, moviegoing experience.
    • 39 Metascore
    • 50 Michael Rechtshaffen
    The Thor Freudenthal-helmed sequel lacks the energetic zip of its predecessor.
    • 39 Metascore
    • 50 Michael Rechtshaffen
    While visually engaging, this production of Disneytoon Studios -- it was originally slated to go direct-to-DVD -- lacks the sort of character depth and dramatic scope normally associated with the Pixar brand.
    • 37 Metascore
    • 50 Michael Rechtshaffen
    Walking With Dinosaurs takes rewarding advantage of a much bigger budget and state-of-the-art technology to bring its impressive collection of Cretaceous creatures to vivid life. But while the walking part’s pretty impressive, the talking part — not so much.
    • 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.
    • 53 Metascore
    • 50 Michael Rechtshaffen
    While there are plenty of madcap antics to fill a feature, all that manic energy ultimately proves to be more exhausting than exhilarating.
    • tbd Metascore
    • 50 Michael Rechtshaffen
    Delusions of Guinevere is a savvy if uneven satire.
    • 55 Metascore
    • 50 Michael Rechtshaffen
    Director Tim Johnson (DreamWorks’ Antz) and writing team of Tom J. Astle and Matt Ember (Epic), keep the momentum humming and the amusing bits reasonably entertaining, but they can’t vanquish the prevailing feeling of deja vu, and that the Boov are merely Minions of a different hue.
    • 37 Metascore
    • 40 Michael Rechtshaffen
    Visually inspired but thematically derivative.
    • 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.
    • 26 Metascore
    • 40 Michael Rechtshaffen
    This first feature by Jabbar Raisani is played out with considerable conviction on the part of its director and the tough-guy cast (led by Rick Ravanello), but the alien element is less convincing because of corny costumes and static-y special effects.
    • 45 Metascore
    • 40 Michael Rechtshaffen
    The results are decidedly more mind-numbing than bone-chilling.
    • 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.
    • tbd Metascore
    • 40 Michael Rechtshaffen
    It might also have been nice to have included some archival footage that would have illustrated how little the Yukon River setting has changed over the last century, but Horvath appears to have no interest in digging any deeper.
    • 33 Metascore
    • 40 Michael Rechtshaffen
    The more recent concert and backstage material, assembled by director Andy Grieve, lacks the energy and immediacy key to dynamic performance films.
    • 53 Metascore
    • 40 Michael Rechtshaffen
    We, unfortunately, learn very little in this Earth Day release (originally completed in 2012) that we haven't seen before in more evolved, better focused documentaries.
    • 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.
    • 50 Metascore
    • 40 Michael Rechtshaffen
    The film takes a long time to get going because of all the prolonged, glib chit-chat that loses whatever satirical edge it might have initially possessed.
    • 51 Metascore
    • 40 Michael Rechtshaffen
    Being big on improvisation doesn't necessarily mine nuggets of comic brilliance, and there are times you wish Argott and Joyce would have adhered more closely to the Matt Serword-penned script.
    • 36 Metascore
    • 40 Michael Rechtshaffen
    Despite its serious imperfections, the soapy escapism provided by The Perfect Guy at least arrives at an opportune time.
    • tbd Metascore
    • 40 Michael Rechtshaffen
    Although the lead performances, including a turn by Michelle Fairley (Catelyn Stark on "Game of Thrones") as a no-nonsense police chief, are uniformly solid, the hollow Montana has trouble unloading all those stolen parts.
    • 30 Metascore
    • 40 Michael Rechtshaffen
    Narcopolis starts off intriguingly and ends solidly. It's everything else in between that isn't particularly compelling.
    • 32 Metascore
    • 40 Michael Rechtshaffen
    The visually stirring format proves unable to lift the story and performances out of a prevailing, airless stupor.
    • 39 Metascore
    • 40 Michael Rechtshaffen
    While the corrupt Indiana Jones conceit certainly held promise, the Hesses fail to move it much further beyond that "what if" premise, taking weak, obvious potshots at its fundamentalist target.
    • 62 Metascore
    • 40 Michael Rechtshaffen
    While the early going might bring to mind the Dogme 95 school of stripped-down filmmaking...the result, with its collective of uniformly unsympathetic characters, ultimately overdoses on all the unscripted bad vibes.
    • 56 Metascore
    • 40 Michael Rechtshaffen
    Tumbledown sees its good intentions undermined by cloying sitcom conventions.
    • 36 Metascore
    • 40 Michael Rechtshaffen
    The problem once again remains an inability to sustain those de rigueur elements of tension and suspense much beyond those first 20 minutes.

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