For 1,036 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 7.7 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Eyes Wide Shut
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
1,036 movie reviews
    • 11 Metascore
    • 25 Nathan Rabin
    Scary Movie 5 aspires to timeliness, but its comic sensibility is so groaningly retro that the film features a series of tributes to The Benny Hill Show and its signature ditty, “Yakety Sax.”
    • 37 Metascore
    • 25 Nathan Rabin
    For the scandal-prone icon behind the camera - who glibly writes off all that talk about her subjects' Nazi sympathies as slanderous nonsense from a jealous, hateful press and gossipy busybodies - the film might as well be called ME.
    • 45 Metascore
    • 25 Nathan Rabin
    Girl In Progress is ultimately less interested in subverting the clichés of the genre than in recycling them. It wants audiences to know it's in on the joke though it's not always apparent that there even is a joke in the first place.
    • 43 Metascore
    • 25 Nathan Rabin
    Fischer at least has personal and romantic reasons to be involved with this film, but audiences are unencumbered by such obligations, and should heed the title's warning sign and opt out of Kirk, Fischer, and Messina's fruitless little circle of pain.
    • 15 Metascore
    • 25 Nathan Rabin
    Stiff, episodic, and disjointed, Silent Hill: Revelation 3D replicates its source material all too faithfully.
    • 45 Metascore
    • 25 Nathan Rabin
    So why is The Paperboy so bizarrely dull? It's as if the filmmakers combined 18 different kinds of scalding-hot peppers, yet inexplicably emerged with oatmeal.
    • 41 Metascore
    • 25 Nathan Rabin
    The leads here aren't the only element of the film that's past its prime.
    • 45 Metascore
    • 25 Nathan Rabin
    Any pretensions of satire, moral ambiguity, or social commentary get lost in a hurricane of empty, mindless spectacle.
    • 36 Metascore
    • 25 Nathan Rabin
    Just like "Illegal Aliens," Addicted To Love is an exploitation movie, albeit one without even the science-fiction spoof's sunny, dumbass innocence.
    • 20 Metascore
    • 25 Nathan Rabin
    Would You Rather has one major asset in an appropriately gothic, larger-than-life performance by Jeffrey Combs, the great, chameleon-like character actor best known for playing a mad scientist in "Re-Animator."
    • 44 Metascore
    • 20 Nathan Rabin
    Any social good the film might do gets lost in a soupy morass of histrionics, clumsy storytelling, overripe dialogue, and rampant didacticism.
    • 47 Metascore
    • 20 Nathan Rabin
    Wholly devoid of suspense or chills, The Skeleton Key simply bides its time until its big final plot twist, but the filmmakers don't seem to realize that a second-rate twist can't redeem a third-rate fright flick.
    • 45 Metascore
    • 20 Nathan Rabin
    Laughably awful.
    • 42 Metascore
    • 20 Nathan Rabin
    A tone of lurid idiocy permeates Trapped, a Z-grade woman-in-peril thriller starring scenery-chewing Kevin Bacon.
    • 36 Metascore
    • 20 Nathan Rabin
    Big Fat Liar's screenplay, co-written by Robbins and fellow Head Of The Class alumnus Dan Schneider, is a model of comic inefficiency. Like a Rube Goldberg contraption, it goes to excruciating, wildly implausible lengths for the flimsiest of payoffs.
    • 27 Metascore
    • 20 Nathan Rabin
    Spears is filmed and costumed in such a harsh, unflattering manner that it looks like Christina Aguilera bribed the crew to make her rival look as hideous as possible. Spears' ubiquity has spawned an inevitable backlash, but the awful Crossroads ought to do more harm to her career than even the most powerful Britney-basher.
    • 36 Metascore
    • 20 Nathan Rabin
    Anyone older than eight is likely to find it a ridiculously extravagant exercise in stupidity.
    • 63 Metascore
    • 20 Nathan Rabin
    Garai's flowery, overwritten narration proves irritating in the movie's first half, then unfortunately sets the tone for a fatal second-half descent into soap operatics, dippy dialogue, and airless melodrama.
    • 54 Metascore
    • 20 Nathan Rabin
    Mean-spirited and stagy where "Psycho Beach Party" was cinematic and charming, Die, Mommie, Die recycles gags from Busch's screenwriting debut--from transparently phony rear projection to a character's crippling constipation--and the law of diminishing returns kicks in pretty hard.
    • 52 Metascore
    • 20 Nathan Rabin
    A mess, a poorly paced, poorly structured, lukewarm comedy-drama that fails even to capitalize on the cheap nostalgia inherent in its plot.
    • 31 Metascore
    • 20 Nathan Rabin
    The Big Hit goes beyond the call of duty in terms of hateful, crass exploitation.
    • 62 Metascore
    • 20 Nathan Rabin
    Myers returns as his menagerie of repulsive characters, but this time, his frantic mugging feels more like an insipid parlor trick than ever.
    • 41 Metascore
    • 20 Nathan Rabin
    Celebrity is a waste, a tedious and depressingly routine film by a filmmaker on a steep, possibly permanent artistic decline.
    • 40 Metascore
    • 20 Nathan Rabin
    Sadly, it's yet another intercultural mishmash that hopes for its iconic star's charisma to overcome a dire script, cardboard characters, indifferently directed action scenes, and an atrocious villain buried under layers of unconvincing old-man makeup.
    • 33 Metascore
    • 20 Nathan Rabin
    In the midst of this comic black hole, only Snoop Dogg and Method Man emerge unscathed, as even material this bad can't mask their languid, long-limbed charisma.
    • 35 Metascore
    • 20 Nathan Rabin
    Urban Legend has an undeniably clever premise, which plays on a sort of cultural mythology shared by the filmmakers and the ostensibly media-savvy audience, but it fails to do anything interesting with it.
    • 22 Metascore
    • 20 Nathan Rabin
    A nasty black comedy whose relentlessly glossy exterior recalls both Araki and John Waters without the wit or smarts of either...As a black comedy, Jawbreaker has one major flaw: It's not funny.
    • 63 Metascore
    • 20 Nathan Rabin
    Essentially "Bring It On" minus the effervescence, star power, energy, and brisk pace -- in other words, everything that made it bearable.
    • 12 Metascore
    • 20 Nathan Rabin
    Schwartzman steals Slackers without much effort, but it's not worth the theft.
    • 61 Metascore
    • 20 Nathan Rabin
    Deconstructing Harry is a mess: a shambling, narcissistic, sexist romp that is, worst of all, almost entirely devoid of laughs.
    • 38 Metascore
    • 20 Nathan Rabin
    While “Final Destination” was gimmicky enough, its sequel begins with the same flawed premise, then piles on layers of contrivances until it reaches a level of implausibility rarely seen outside of films pitting giant radioactive monsters against each other.
    • 26 Metascore
    • 20 Nathan Rabin
    Reynolds and Reid's white-bread romance begs to be left on the cutting-room floor, but then again, so does just about every other scene in Van Wilder, which distinguishes itself only in featuring a level of ejaculate rarely found outside of hardcore porn.
    • 25 Metascore
    • 20 Nathan Rabin
    An uncomfortable-looking Lee soldiers doggedly through a thankless role, while Green, though never particularly funny, at least brings off-kilter energy to a role that provides Stealing Harvard's only spark of spontaneity.
    • 52 Metascore
    • 20 Nathan Rabin
    The Independent Film Channel is distributing Girls Will Be Girls; perhaps its executives failed to realize that this kind of mirthless, tacky independent film sends traumatized audiences racing back to the glossy production values on display at the local multiplex.
    • 16 Metascore
    • 20 Nathan Rabin
    Made with just enough craft to keep it from being the instantly dated camp howler its title promises, but it's quickly apparent that there's no thought or originality under its grim, familiar surface.
    • 30 Metascore
    • 20 Nathan Rabin
    A surreal piece of silliness.
    • 19 Metascore
    • 20 Nathan Rabin
    Wasted comedy ringers Eugene Levy and Cheri Oteri co-star.
    • 30 Metascore
    • 20 Nathan Rabin
    A bad-movie-lover's heaven, and a good-movie-lover's hell.
    • 23 Metascore
    • 20 Nathan Rabin
    The worst Hanukkah movie ever made, Adam Sandler's Eight Crazy Nights does for the holiday what "Santa Claus: The Movie" did for Christmas.
    • 41 Metascore
    • 20 Nathan Rabin
    Meet The Fockers has assembled a historic, once-in-a-lifetime cast, then stranded them in the laziest, most mercenary kind of sequel imaginable. It's like the 1927 Yankees taking on the Special Olympics softball team.
    • 28 Metascore
    • 20 Nathan Rabin
    47 Ronin is elephantine and lumbering, a wobbly, would-be epic that aspires to the scope and majesty of The Lord Of The Rings trilogy, but comes up woefully short.
    • 31 Metascore
    • 20 Nathan Rabin
    TMNT confuses “dimly lit” for “gritty” and humorless for substantive. It’s afraid of being too fun or too light, and doesn’t seem to know whether it wants to be a Nolan film or a 21 Jump Street-style spoof.
    • 26 Metascore
    • 20 Nathan Rabin
    The film doesn’t feel like a fresh riff on familiar tropes so much as a bad cover of Pulp Fiction.
    • 52 Metascore
    • 20 Nathan Rabin
    The film’s reliance on formula and stereotypes wouldn’t be so frustrating if that formula worked and provided the glib pleasures the filmmakers are going for; instead, Ping Pong Summer feels stilted, undernourished, and oddly sour.
    • 40 Metascore
    • 20 Nathan Rabin
    Better Living Through Chemistry suggests a new cinematic rule: the more impressed a movie is with itself, the less likely it is to impress a discriminating audience liable to have seen all its silly little tricks before.
    • 25 Metascore
    • 20 Nathan Rabin
    It’s simply tacky consumer product that dishonors the famous name in its title—the same one that’s keeping this film from the direct-to-video burial it deserves.
    • 30 Metascore
    • 20 Nathan Rabin
    Let’s Be Cops takes its premise in the dullest, most predictable direction imaginable, as a wacky mismatched-buddy-cop movie pitched to the lowest common denominator.
    • 48 Metascore
    • 20 Nathan Rabin
    Made In America is a puff piece, a shallow, insufferable exercise in hagiography that seems to operate under the delusion that a festival bill combining rock, pop, and rap acts represents a dazzling innovation, not the status quo for festivals like Lollapalooza, Coachella, Bonnaroo, and countless others.
    • 23 Metascore
    • 16 Nathan Rabin
    It'd take more than potentially lethal amounts of alcohol to make this derivative trash endurable.
    • 24 Metascore
    • 16 Nathan Rabin
    A laughable would-be fright-fest that's as strikingly inept as a Boll movie, but nowhere near as much guilty fun.
    • 17 Metascore
    • 16 Nathan Rabin
    A punishingly awful slasher film with monosyllabic banter dreadful enough to make viewers yearn for the sophisticated repartee of earlier Dark efforts like "White Bunbusters."
    • 57 Metascore
    • 16 Nathan Rabin
    Unfortunately, nothing about Tony Goldwyn's vapid, navel-gazing, claustrophobic adaptation of a 2001 Italian film rings remotely true.
    • 64 Metascore
    • 16 Nathan Rabin
    There's precious little of Lennon's legendary crankiness on display in The U.S. Vs. John Lennon, a fawning hagiography that diligently shaves away the ex-Beatle's rough edges and knotty idiosyncrasies.
    • 16 Metascore
    • 16 Nathan Rabin
    Having broken free of the Disney machine that molded her, Lohan now seems intent on destroying her career and credibility on her own terms.
    • 15 Metascore
    • 16 Nathan Rabin
    God-awful.
    • 28 Metascore
    • 16 Nathan Rabin
    Nobel Son sadistically resurrects the Tarantino knockoff--an unloved, foul-mouthed little bastard of a subgenre that should now go away forever.
    • 24 Metascore
    • 16 Nathan Rabin
    There may be a trenchant satire to be mined from our culture's materialism-warped wedding madness, but Bride Wars instead opts for graceless, flailing, poorly choreographed slapstick performed by characters who suggest a dumbed-down tour production of "Sex And The City."
    • 38 Metascore
    • 16 Nathan Rabin
    We remain a nation divided, but hopefully we’ve at least progressed beyond the need for clumsy message movies about racial tolerance, as fortified with dick jokes.
    • 33 Metascore
    • 16 Nathan Rabin
    With deadening predictability, the filmmakers have reduced a definitive satire about the flaws and foibles of human nature into family-friendly sub-Disney pabulum about an affable slacker who finally musters up the courage to ask a pretty girl at work for a date.
    • 9 Metascore
    • 16 Nathan Rabin
    Apparently no one told Ricci she was acting in a comedy, not a touching drama about a young woman overcoming a formative trauma to achieve her dreams.
    • 33 Metascore
    • 16 Nathan Rabin
    The Chaperone is being marketed as a comedy, though no one seems to have told anyone involved.
    • 31 Metascore
    • 16 Nathan Rabin
    The film is such a barren comic wasteland of scatology and misogyny that Vanilla Ice steals the film with a good-natured, self-deprecating portrayal of himself as Sandler's sleazy party buddy.
    • 18 Metascore
    • 16 Nathan Rabin
    The sketches aren't united by a half-ignored framing device, so much as by an enduring fascination with bodily functions. Movie 43 is the most star-studded collection of jokes involving menstruation, flatulence, incest, bestiality, Snooki, and nutsacks ever assembled, but the stars don't elevate the material-they just descend to its level.
    • 28 Metascore
    • 16 Nathan Rabin
    It’s almost impressive how the moronic new ensemble comedy The Big Wedding manages to cram three hours’ worth of nonsensical subplots, extraneous characters, and implausible plot points into 90 minutes of streamlined idiocy.
    • 36 Metascore
    • 16 Nathan Rabin
    Parental Guidance is the abysmal grandpa/grandkids bonding comedy he's (Crystal) been destined to make since he first started creating new comedy with an unmistakable old-person smell.
    • 38 Metascore
    • 16 Nathan Rabin
    To paraphrase a famous Mae West wisecrack, when Cage is good, he's very good, and when he's bad, he's better. Here, however, he's just plain lousy, and like the film he so passively carries, that's no fun at all.
    • 37 Metascore
    • 16 Nathan Rabin
    The idiotic melodrama The Words is a maddening contradiction: a film about the publishing industry and a great literary fraud that doesn't have a literary bone in its body or a thought in its pretty, empty little head.
    • 34 Metascore
    • 10 Nathan Rabin
    Bewitched piles miscalculation upon miscalculation, beginning by casting the iron-willed Kidman, one of film's gutsiest and most fearless actresses, as a regressive pre-feminist dumb-blonde doormat, a sort of mildly retarded amalgam of Marilyn Monroe, Renée Zellweger, and Meg Ryan.
    • 48 Metascore
    • 10 Nathan Rabin
    Writer-director Jonathan Jakubowicz does his best Quentin Tarantino impersonation, loading the film with percussively profane dialogue, smug adolescent nihilism, rampant drug use, pop-culture references, homophobic invective, and empty stylistic excess.
    • 19 Metascore
    • 10 Nathan Rabin
    Almost comically unambitious, Underclassman seldom tries to be funny, and never even attempts to be original.
    • 36 Metascore
    • 10 Nathan Rabin
    Its creepy use of DMX's daughter is reprehensible, but the film is otherwise so unrelentingly sleazy that its use of the child-in-danger gambit actually qualifies as one of its subtler moves.
    • 36 Metascore
    • 10 Nathan Rabin
    A shamelessly derivative mob movie.
    • 21 Metascore
    • 10 Nathan Rabin
    A supernatural religious thriller so awful it should result in the retroactive forfeiture of the Oscar writer, director, and producer Brian Helgeland won for co-writing "L.A. Confidential."
    • 25 Metascore
    • 10 Nathan Rabin
    In one respect at least, the film's idiocy works for Lopez: Every diva needs at least one camp classic on her résumé, and with Enough, she's scored a howler on the level of "Mommie Dearest."
    • 23 Metascore
    • 10 Nathan Rabin
    Reflects poorly on everyone, particularly its makers, its stars, and the studio laboring under the delusion that this stuff was worthy of release.
    • 12 Metascore
    • 10 Nathan Rabin
    A headache-inducing mess without direction or purpose.
    • 19 Metascore
    • 10 Nathan Rabin
    Spade proves that he's entirely capable of making unwatchable dreck all by himself.
    • 43 Metascore
    • 10 Nathan Rabin
    It's probably not the year's worst film, but it would be difficult to imagine three more interminable, snooze-inducing hours of film than you'll find watching this narcoleptic dinosaur.
    • 33 Metascore
    • 10 Nathan Rabin
    Such a stupid, painfully obvious, gratingly unfunny dud that it's unlikely to please even the most gullible and easy-to-please members of the Kiss army.
    • 20 Metascore
    • 10 Nathan Rabin
    The makers of “Bringing Down The House” should thank the gods of cinema for Marci X, which has relieved the Steve Martin/Queen Latifah hit of its status as the year's most misguided culture-clash comedy.
    • 39 Metascore
    • 10 Nathan Rabin
    Another contrived, unconvincing romantic comedy that once again mixes stale sitcom humor with laughable attempts at pathos and emotional depth.
    • 26 Metascore
    • 10 Nathan Rabin
    Twisted marks a bottoming-out for pretty much everyone involved, particularly Judd and director Philip Kaufman, who should know better. The film is the creative equivalent of waking up naked in a puddle of cheap wine and vomit.
    • 26 Metascore
    • 10 Nathan Rabin
    Running a mere 83 minutes, A Night At The Roxbury still feels like an eternity spent in bad high-concept-movie hell.
    • 35 Metascore
    • 10 Nathan Rabin
    A work of Battlefield Earth-level miscalculation.
    • 16 Metascore
    • 10 Nathan Rabin
    Straight from the fiery, churning bowels of high-concept hell comes Kangaroo Jack, Bruckheimer's idea of kid-friendly fare, and some of the longest 90 minutes ever committed to film.
    • 35 Metascore
    • 10 Nathan Rabin
    A work of staggering stupidity.
    • 35 Metascore
    • 10 Nathan Rabin
    Marginally better than its predecessor, but only because "Next Friday" lowered standards so far that only a homemade cockfighting video would have failed to surpass it.
    • 19 Metascore
    • 10 Nathan Rabin
    The ongoing cinematic desecration of Dr. Seuss' legacy continues with The Cat In The Hat, a clattering abomination that makes it depressingly likely that an entire generation of reading-averse children will know The Cat In The Hat as that obnoxious character Mike Myers played in that horrible movie.
    • 15 Metascore
    • 10 Nathan Rabin
    It's not even bad enough to be any fun.
    • 32 Metascore
    • 10 Nathan Rabin
    Sets a new nadir in the reality genre's race to the bottom. The price of sacrificing dignity for the amusement of the general public gets lower every day.
    • 19 Metascore
    • 10 Nathan Rabin
    At least Into The Fire can't be accused of misleading audiences. From its overwrought opening narration to early shots of an empty Ferris wheel, it promises to be a dour, pretentious, humorless time-waster, and it doggedly makes good on that promise.
    • 19 Metascore
    • 10 Nathan Rabin
    The film is so slight that it feels less like a proper sequel to Grown Ups than a failed television spin-off that inexplicably cast Sandler and the gang in the lead roles instead of their low-budget television equivalents.
    • 40 Metascore
    • 10 Nathan Rabin
    Salinger thinks it’s big, important news, but it’s barely a footnote.
    • 37 Metascore
    • 10 Nathan Rabin
    In the insufferable, secondhand tradition of countless other regrettable genre films, Black Out is so impressed by itself, it doesn’t even need an audience.
    • 34 Metascore
    • 10 Nathan Rabin
    The film’s constant nods to the artificiality of its narrative highlight its precious, cloying phoniness rather than subvert it.
    • 17 Metascore
    • 0 Nathan Rabin
    How do you make a movie about a protagonist so profoundly irritating that even her loved ones barely tolerate her? And how do you avoid annoying audiences to the point of distraction in the process?
    • 17 Metascore
    • 0 Nathan Rabin
    An unspeakable nadir in the career of its writer-director-star.
    • 27 Metascore
    • 0 Nathan Rabin
    All too effectively conveys the claustrophobic horror of being shackled in a small space with two whiny, hateful children.
    • 41 Metascore
    • 0 Nathan Rabin
    Cheap and ugly in every sense--morally, cinematically, creatively--Nowhere Man accomplishes the seemingly impossible by dragging the seedy revenge genre to a horrific new nadir.
    • 31 Metascore
    • 0 Nathan Rabin
    It's not hard to imagine the militant Jane Fonda of 1972 angrily denouncing Monster-In-Law as insulting Hollywood claptrap trafficking in regressive, reactionary, blatantly sexist gender codes. And she'd be right.
    • 17 Metascore
    • 0 Nathan Rabin
    It's an ersatz comedy filled with unconvincing celebrity look-alikes and tone-deaf parodies. Only the desperation and cynicism feel authentic.
    • 13 Metascore
    • 0 Nathan Rabin
    A generic time-waster powered by a lazy, cynical combination of scatological kiddie humor and maudlin sentiment.
    • 32 Metascore
    • 0 Nathan Rabin
    Perhaps the harshest criticism that can be directed at Chapter 27 is that it's awful even for a late-period Lindsay Lohan movie. It might even be bad enough to inspire "Catcher" author J.D. Salinger to break his decades of public silence to speak out against this high-camp fiasco.
    • 49 Metascore
    • 0 Nathan Rabin
    For all its crudeness and desperation, Soul Men can't scare up a single laugh.
    • 17 Metascore
    • 0 Nathan Rabin
    The problems with Street Fighter: The Legend Of Chun-Li began with the casting of dead-eyed, sleepy-voiced, charisma-impaired automaton Kristin Kreuk.
    • 19 Metascore
    • 0 Nathan Rabin
    This suspense-free, originality-deprived mess will likely be a major contender for the title of 1999's worst film.
    • 27 Metascore
    • 0 Nathan Rabin
    Somehow both formulaic and bat-shit insane. It's sort of a given that films in this genre won't be rigorous cerebral exercises, but Simply Irresistible is almost hypnotic in its unyielding stupidity.
    • 16 Metascore
    • 0 Nathan Rabin
    Bound to wind up as one of 1999's worst films.
    • 57 Metascore
    • 0 Nathan Rabin
    Takes almost two self-infatuated, smarmy, condescending, cringe-inducingly sentimental hours to reach its pre-ordained conclusion.
    • 25 Metascore
    • 0 Nathan Rabin
    A shockingly inane college comedy that accomplishes the nearly impossible feat of being far worse than it looks.
    • 28 Metascore
    • 0 Nathan Rabin
    Contrived, clueless, reprehensible.
    • 19 Metascore
    • 0 Nathan Rabin
    8MM
    That 8MM fails miserably as a psychological thriller is forgivable. The fact that it is nearly as creepy, sleazy, and manipulative as the pornographic films it so cluelessly and hypocritically condemns is not.
    • 6 Metascore
    • 0 Nathan Rabin
    A horrible, horrible film that wears out its welcome before its opening credits.
    • 9 Metascore
    • 0 Nathan Rabin
    The most perversely unnecessary sequel in recent memory.
    • 45 Metascore
    • 0 Nathan Rabin
    This results in a film that spells everything out visually, then further elaborates through groaningly obvious dialogue, then drives every point home for slow-witted audiences via shameless narration.
    • 16 Metascore
    • 0 Nathan Rabin
    Not since Mark Wahlberg trembled in fear beside a menacing houseplant in "The Happening" has a film tried to provoke terror with such an unlikely object of menace.
    • 18 Metascore
    • 0 Nathan Rabin
    The hilariously convoluted thriller contains all the elements for a wacky parody of exorcism movies, except a sense of humor about itself: The Devil Inside never acknowledges its innate ridiculousness, so the laughs are unintentional.
    • 46 Metascore
    • 0 Nathan Rabin
    It’s so egregiously awful, so utterly without merit, that it makes its predecessor seem much worse by association. The film’s brainless, chest-beating brand of hyper-pulp calls into question whether Sin City was any good at all, or whether the novelty of its visuals and storytelling merely masked a howling nothingness at its core.
    • 35 Metascore
    • 0 Nathan Rabin
    If Spurlock had simply followed Waters around for 80 minutes, the result would be more entertaining than Mansome. Hell, 80 minutes of John Waters sleeping would be more fun than Mansome.
    • 28 Metascore
    • 0 Nathan Rabin
    It isn’t a movie so much as a feature-length perfume commercial for a Charlie Sheen signature cologne with gorgeous packaging and absolutely nothing inside.
    • 28 Metascore
    • 0 Nathan Rabin
    A Madea Christmas belongs to a rancid strain of Yuletide trifles that feature awful people being terrible to each other for 90 minutes under the sway of insulting plot contrivances before the awfulness is climactically washed away in an avalanche of holiday sentimentality.