Peter Travers
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For 2,437 reviews, this critic has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 4.8 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Ida
Lowest review score: 0 The Texas Chainsaw Massacre: The Beginning
Score distribution:
2,437 movie reviews
    • 82 Metascore
    • 75 Peter Travers
    The film is a striking cinematic tone poem.
    • 76 Metascore
    • 75 Peter Travers
    See this darkly comic character study unburdened by preconceptions.
    • 78 Metascore
    • 75 Peter Travers
    Does the plot spin out of control? You bet. But dumb fun this smart is a gift.
    • 69 Metascore
    • 75 Peter Travers
    A hypnotic movie of harsh truth and healing compassion. It sticks with you.
    • 76 Metascore
    • 75 Peter Travers
    Ayoade, the British comic making a remarkable feature debut with his adaptation of Joe Dunthorne's 2008 novel, blends mirth and malice with deadpan brilliance.
    • 71 Metascore
    • 75 Peter Travers
    Fed Up has a fire in its belly to change things. Naïve? Maybe. So what. I say, Godspeed. Here is something rare at the multiplex: a movie that matters.
    • 62 Metascore
    • 75 Peter Travers
    Blazing performance will burn in your memory. Same goes for the film.
    • 76 Metascore
    • 75 Peter Travers
    Fukunaga, son of a Japanese father and a Swedish mother, is a filmmaker to watch. He has reanimated a classic for a new generation, letting Jane Eyre resonate with terror and tenderness.
    • 54 Metascore
    • 75 Peter Travers
    Any doubts about three Chinese actresses speaking English with Japanese accents vanish in the face of their deeply felt performances and the world Marshall conjures with magical finesse.
    • 72 Metascore
    • 75 Peter Travers
    Luhrmann is a director with the style and snap to have these tired routines on their feet and kicking like a line of Rockettes.
    • 85 Metascore
    • 75 Peter Travers
    The line between making guerrilla art and selling out has never blurred more provocatively.
    • 63 Metascore
    • 75 Peter Travers
    The sequel is more musically varied, though Kay Cannon's script amps the sass at the expense of structure. But the MVP here is Elizabeth Banks.
    • 66 Metascore
    • 75 Peter Travers
    The movie belongs to Moretz, whose sensational performance will be talked about for years. Her scenes with Cage, who wears a Batsuit and uses a voice borrowed from Adam West, are a hoot.
    • 63 Metascore
    • 75 Peter Travers
    Writer-director Andrew Niccol, who worked impressively with Hawke on the topic of genetic modification in 1997's "Gattaca," puts a lot out there.
    • 76 Metascore
    • 75 Peter Travers
    Obvious Child is a romcom with a sting in its tail. And Slate is a dynamo, nailing every laugh while showing a true actor's gift for nuance.
    • 74 Metascore
    • 75 Peter Travers
    Journeys, shot on the last two nights of Young's 2011 solo world tour, is essential Neil Young.
    • 51 Metascore
    • 75 Peter Travers
    Best of all is the excitement of watching Mann use his kinetic powers as a filmmaker to tackle the new face of 21st-century warfare.
    • 77 Metascore
    • 75 Peter Travers
    It's funny. So is Nicole Kidman, very Cruella De Vil as Millicent Clyde, a taxidermist with an eye on adding Paddington to her stuffed collection. It's an excuse for some chase scenes and physical comedy (Paddington gets his head stuck in a toilet bowl) that manage to suggest both the Marx brothers and Wes Anderson. I mean that as a good thing.
    • 72 Metascore
    • 75 Peter Travers
    Michael Fassbender delivers a bold and brilliantly immersive performance as a sex addict in Shame. He is so raw and riveting you won't be able to take your eyes off him.
    • 72 Metascore
    • 75 Peter Travers
    Moore shows us acting at its best, alive with ferocity and feeling and committed to truth.
    • 64 Metascore
    • 75 Peter Travers
    This film is a muckraking provocation whose time has come.
    • 79 Metascore
    • 75 Peter Travers
    Michael Moore might want to look into this before more animal docs steal his thunder.
    • 68 Metascore
    • 75 Peter Travers
    What makes Crazy Stupid Love a cut above is actors who let pain seep into the laughs. Here's a comedy you really can take to heart.
    • 72 Metascore
    • 75 Peter Travers
    It sounds sappy, and sometimes it is, but director Koepp and co-writer John Kamps stay alert to the humor and pathos of Bertram's isolation.
    • 66 Metascore
    • 75 Peter Travers
    The film, sometimes talky and overemphatic, is also literate, erotic, brutally funny and touched by brilliance in its quartet of live-wire performances.
    • 69 Metascore
    • 75 Peter Travers
    Dull title for a juicy, fact-based caper movie that's full of surprises I have no intention of spoiling.
    • 81 Metascore
    • 75 Peter Travers
    The three actors could not be better. Huge feelings are packed into this small, fragile movie. It's something special.
    • 68 Metascore
    • 75 Peter Travers
    The movie rises and, at times, even soars. This is all - and I do mean all - thanks to what human actors in league with computer technology can now achieve to bring the apes to life. No more guys squeezed into monkey suits and talking in posh accents. Performance-capture makes all the difference.
    • 65 Metascore
    • 75 Peter Travers
    Writer-director Richard Shepard gives Brosnan his meatiest role ever, and he digs in with relish.
    • 59 Metascore
    • 75 Peter Travers
    There are delicious bits aplenty in Spider-Man 3 for those who care to notice.
    • 63 Metascore
    • 75 Peter Travers
    World War Z is still as smart, shifty and scary as a starving zombie ready to chow down on you, baby, you.
    • 65 Metascore
    • 75 Peter Travers
    It's all infectious fun, despite the lack of originality. In the art of tickling funny bones, Crystal and Goodman earn straight A's.
    • 57 Metascore
    • 75 Peter Travers
    Stamp's award-caliber performance as a closed-off man on the brink of turning into stone is a miracle of subtlety and feeling. This is acting of the highest order. Redgrave partners him superbly, bringing warmth and nurturing humor to a role she refuses to play for easy tears.
    • 45 Metascore
    • 75 Peter Travers
    Peckinpah rubbed our noses in the bloodlust. Lurie invites objectivity. He gets strong, complex performances from actors who won't be painted into corners.
    • 75 Metascore
    • 75 Peter Travers
    This sweetheart of a comedy boasts a hilarious and heartfelt performance by Keri Russell.
    • 70 Metascore
    • 75 Peter Travers
    Woody Allen's sexiest movie ever.
    • 76 Metascore
    • 75 Peter Travers
    Duncan zips through five decades and dozens of characters without reducing the participants to cliches or slogans. A remarkable cast helps him to keep focused on the core of the piece.
    • 49 Metascore
    • 75 Peter Travers
    This kinky game of murder and eroticism is preposterous but never boring.
    • 64 Metascore
    • 75 Peter Travers
    Ferrell is effortlessly uproarious. And watching hardass Wahlberg, in his first starring shot at farce, shake his sillies out is not to be missed.
    • 60 Metascore
    • 75 Peter Travers
    Ribisi and Macht are sleaze incarnate. James Caan, as a conniving lawyer, and Rade Sherbedgia, as a Russian crime boss, are even more cootified. Best of all is Wilson, digging into his juiciest role in years and putting a human face on this mesmerizing morality tale, a journey into the toxic heart of the American dream.
    • 70 Metascore
    • 75 Peter Travers
    What Button shows is that Ben is ultimately not the hero of his own life or his own movie. He gets inside our head, that's for sure, but, frustratingly, we never get inside his.
    • 67 Metascore
    • 75 Peter Travers
    It's a haunting and hypnotic film.
    • 62 Metascore
    • 75 Peter Travers
    The actors could not be better. Sarsgaard, Scott and the luminous Clarkson negotiate the film's razor-sharp laughs and bone-deep tragedy with resonant skill. Lucas' powerfully haunting film gets under your skin.
    • 47 Metascore
    • 75 Peter Travers
    The real action in Silver City happens on the fringes, where the mischief is. Daryl Hannah is spice incarnate as Dickie's sexy screw-up sister. Billy Zane plays a lobbyist with insinuating soullessness. And Dreyfuss feasts on the snappiest lines.
    • 53 Metascore
    • 75 Peter Travers
    Indefensible on a moral level, Rob Zombie's perversely watchable follow-up to his much-reviled cult hit "House of 1000 Corpses" is loaded with filmmaking energy.
    • 58 Metascore
    • 75 Peter Travers
    Younger knows it's fun to watch Rafi and David cross lines of age, culture and religion. He also knows it's painful. That's what makes his movie hilarious and heartfelt.
    • 74 Metascore
    • 75 Peter Travers
    The film can't hide its stage origins, and in cutting almost an hour on the journey from stage to screen some resonance is lost. But Bennett's dialogue sparkles and skewers with killer wit. Dig in.
    • 71 Metascore
    • 75 Peter Travers
    Before it runs off course into excess, this brilliantly acted film version of the 1999 novel by Andre Dubus III moves with a stabbing urgency.
    • 88 Metascore
    • 75 Peter Travers
    Spectacular in every sense of the word, even if you don' t know an Orc from a Uruk-Hai.
    • 74 Metascore
    • 75 Peter Travers
    Edward Scissorhands isn't perfect. It's something better: pure magic.
    • 64 Metascore
    • 75 Peter Travers
    Heebie-jeebies are guaranteed.
    • 41 Metascore
    • 75 Peter Travers
    The film is for horny pups of all ages who relish the memory of reading stroke books under the covers with a flashlight. Verhoeven has spent $49 million to reproduce that dirty little thrill on the big screen.
    • 79 Metascore
    • 75 Peter Travers
    Just one talking head, that's all. But the head in this mesmerizing documentary belongs to Traudl Junge.
    • 61 Metascore
    • 75 Peter Travers
    When is a movie fall-down funny even when some scenes fall flat on their fat ones? When it's Anchorman 2: The Legend Continues.
    • 66 Metascore
    • 75 Peter Travers
    Meryl Streep -- at her brilliant, beguiling best -- is the spice that does the trick for the yummy Julie & Julia.
    • 69 Metascore
    • 75 Peter Travers
    Are we always still in high school in our heads? 21 Jump Street thinks so. And Hill and Tatum are just the crazy-ass comedy team to prove it.
    • 56 Metascore
    • 75 Peter Travers
    Adapting Robert O'Connor's novel, director Gregor Jordan slaps us with keen wit and purpose.
    • 57 Metascore
    • 75 Peter Travers
    What is surprising -- remarkable even -- is that Beloved arrives onscreen with a minimum of dull virtue, gagging uplift and slick Hollywood gloss.
    • 59 Metascore
    • 75 Peter Travers
    How many movies these days leave you wanting more? The funny and heartfelt Home is a small treasure.
    • 62 Metascore
    • 75 Peter Travers
    It's still a first-class charm assault.
    • 72 Metascore
    • 75 Peter Travers
    Polanski, working from a fluid script by Dorfman and Rafael Yglesias ("Fearless"), gives the story its due. He creates an atmosphere of claustrophobic tension to rival his "Knife in the Water" and "Repulsion".
    • 63 Metascore
    • 75 Peter Travers
    Del Toro is the movie's force field. This is a performance you will not forget.
    • 74 Metascore
    • 75 Peter Travers
    The film's secrets unfold slowly, allowing Phoenix and Paltrow -- a luminous fusion of grace and grit -- to build a relationship in full. The script, by Gray and Richard Menello, is inspired by Dostoevsky's "White Nights."
    • 60 Metascore
    • 75 Peter Travers
    The funny, touching and vital Jeff, Who Lives at Home reaffirms your faith in Jay and Mark Duplass. Their films hit you where you live.
    • 66 Metascore
    • 75 Peter Travers
    Bury the nostalgia. Like the rap twist Kayne West puts into the film's classic theme, this movie is best when it stirs it up.
    • 64 Metascore
    • 75 Peter Travers
    The film goes beyond historical anecdotes. Besides fresh and funny insights from the likes of Norman Mailer and John Waters, it shows how little censorship politics have changed from Nixon to Bush.
    • 45 Metascore
    • 75 Peter Travers
    You'll notice that the actors are way overqualified for this nonsense. But the kick they get out of one another is what pulls you in. Traeger's script does more than strain credulity, it administers multiple fractures.
    • 62 Metascore
    • 75 Peter Travers
    The uniformly fine performances are a tribute to Washington, who plays the shrink with his customary command.
    • 57 Metascore
    • 75 Peter Travers
    The result is commendably non-West-centric, but no less sentimentally conceived.
    • 64 Metascore
    • 75 Peter Travers
    Hess and his terrific cast -- Heder is geek perfection -- make their own kind of deadpan hilarity. You'll laugh till it hurts. Sweet.
    • 60 Metascore
    • 75 Peter Travers
    Like the best war movies, Lone Survivor laces action with moral questions that haunt and provoke.
    • 67 Metascore
    • 75 Peter Travers
    Luna and García Bernal display the kind of chemistry that makes you overlook the clichés in the script by first-time director Carlos Cuarón. Sometimes good-natured fun is enough.
    • 57 Metascore
    • 75 Peter Travers
    Best known as Ed Helms' nagging fiancée in "The Hangover," Harris is just perfect without ever looking down on Linda's faith in God and herself. Her performance earns a special kind of glory.
    • 53 Metascore
    • 75 Peter Travers
    There's no denying the kick of Pitt's memorably offbeat performance and writer-director Tom DiCillo's stylish debut.
    • 52 Metascore
    • 75 Peter Travers
    Adrien Brody deserves superlatives for his acting in the alternately mesmerizing and maddening Detachment.
    • 76 Metascore
    • 75 Peter Travers
    If there were an ounce of taste left in Hollywood, the magnificent Vera Farmiga would be a front-runner for the Best Actress Oscar.
    • 68 Metascore
    • 75 Peter Travers
    The funny and heartbreaking Off the Map, directed with a poet's eye and a keen ear for nuance by Campbell Scott, resonates with something rare in today's movies: simplicity.
    • 62 Metascore
    • 75 Peter Travers
    For all its bile and incoherence, In Praise of Love is filled with haunting images and insights. Godard may be a lion in winter, but the lion still roars.
    • 72 Metascore
    • 75 Peter Travers
    It's the work of a filmmaker with a stunning future.
    • 61 Metascore
    • 75 Peter Travers
    The ending is a TVish cop-out. But until then, watching Wood sweat emerges as a pulse-pounding experiment in terror.
    • 79 Metascore
    • 75 Peter Travers
    Keane means to shakes us, and does.
    • 66 Metascore
    • 75 Peter Travers
    In an era of dumb farce, Something's Gotta Give is something special.
    • 73 Metascore
    • 75 Peter Travers
    In the guise of a nerve-jangling thriller, director Gabriele Salvatores, an Oscar winner for "Mediterraneo," delivers a fierce, frightening and deeply moving study of childhood. It's a keeper.
    • 66 Metascore
    • 75 Peter Travers
    The Pangs deliver enough shivery scares to keep you up nights. Eyes wide shut.
    • 69 Metascore
    • 75 Peter Travers
    a bang-up ride that means to wring you out. Mission accomplished.
    • 76 Metascore
    • 75 Peter Travers
    The film itself, energetically directed and written by Michael Hoffman, can't always rise to the level of its two dynamo stars.
    • 63 Metascore
    • 75 Peter Travers
    Sarah Silverman is the most outrageously funny woman alive.
    • 56 Metascore
    • 75 Peter Travers
    First-time director Eli Roth turns this cheapie into a greatest-hits of horror. It's a blast of good gory fun that just won't quit.
    • 64 Metascore
    • 75 Peter Travers
    Lennon's spirit, like his music, shines through this movie like a beacon. Powerful stuff.
    • 83 Metascore
    • 75 Peter Travers
    Horror-movie heaven.
    • 84 Metascore
    • 75 Peter Travers
    Want to know what the “right stuff” really is? Take a look.
    • 64 Metascore
    • 75 Peter Travers
    Murder is just another day at the office for corporate America, and the film hammers that theme home with diminishing returns. But the acting is aces, especially Pitt mixing it up with the superb James Gandolfini.
    • 73 Metascore
    • 75 Peter Travers
    What's on screen in The Grandmaster is off-puttingly disjointed, but it's also dazzling in its startling action and ravishing romance.
    • 67 Metascore
    • 75 Peter Travers
    It's a hilarious and heartfelt ode to twentysomething angst. Braff has himself a winner.
    • 71 Metascore
    • 75 Peter Travers
    Thanks to this team of merry pranksters, 22 Jump Street hurts so good.
    • 79 Metascore
    • 75 Peter Travers
    Propelled by Mark Mancina's percussive score, this Tarzan swings.
    • 79 Metascore
    • 75 Peter Travers
    In fact, Bell the writer, director, producer and actress knows how to set a savvy trap. While we're laughing, she pulls the rug out, making us see Carol's world as a microcosm for the world every working woman lives in. That she does it with subtlety, humor and touching gravity marks Bell as a filmmaker to watch.
    • 75 Metascore
    • 75 Peter Travers
    The Muppets slaps a smile on your face you won't want to wipe off.
    • 67 Metascore
    • 75 Peter Travers
    In a multiplex filled with empty New Year vessels (take that, Kangaroo Jack), this holdover grabs you hard.
    • 75 Metascore
    • 75 Peter Travers
    Scenes move from hurt to resigned laughter and ring poignantly true. The heroically unfashionable result is a minor but distinct pleasure.
    • 80 Metascore
    • 75 Peter Travers
    OK, sensitive tykes may be scared shitless. But those who tough it out with this twisted, trippy adventure in impure imagination will only be the better for it.
    • 64 Metascore
    • 75 Peter Travers
    All you really need to know is that The Rover is a modern Western that explodes the terms good and evil; that its desolation is brilliantly rendered by Michôd and cinematographer Natasha Braier; that Pearce and Pattinson are a blazing pair of opposites.
    • 83 Metascore
    • 75 Peter Travers
    Who would have guessed that a documentary about gamers obsessed with scoring a world record at Donkey Kong would not only be roaringly funny but serve as a metaphor for the decline of Western civilization?
    • 76 Metascore
    • 75 Peter Travers
    A thrilling combination of documentary and musical dazzler.
    • 70 Metascore
    • 75 Peter Travers
    Fusing animation and live action with a series of outrageous props, Gondry veers dangerously close to being precious. But make no mistake: Gondry's hallucinatory brilliance holds you in thrall.
    • 51 Metascore
    • 75 Peter Travers
    If you're a Gilliam junkie, as I am, you go with it, even when the script by Ehren Kruger (The Skeleton Key) loses its shaky hold on coherence.
    • 65 Metascore
    • 75 Peter Travers
    The luminous Michelle Williams goes bone-deep here. Monroe's beauty was one of a kind. No one, not even Williams, can act it. What Williams does, with fierce artistry and feeling, is illuminate Monroe's insights and insecurities about herself at the height of her fame.
    • 78 Metascore
    • 75 Peter Travers
    Langella delivers a master class in acting. He's playing Leonard Schiller, an aging author aching from the loss of his wife, a weak heart and literary neglect.
    • 71 Metascore
    • 75 Peter Travers
    In this tale of stunted development, Theron is a comic force of nature, giving her character considerable density and humanity despite her monstrous aspects.
    • 45 Metascore
    • 75 Peter Travers
    What makes Legends such an entertaining male weepie is the star shine. Though the admirable Quinn has the toughest role, Pitt carries the picture.
    • 83 Metascore
    • 75 Peter Travers
    Mitchell has his own twisted gift for letting atmosphere help define character. It Follows creeps you out big-time in that cool way that freezes the blood.
    • 31 Metascore
    • 75 Peter Travers
    It's a hoot to watch Fonda cut loose and mix it up with J. Lo, even when the laughs turn mean-spirited.
    • 55 Metascore
    • 75 Peter Travers
    The modestly perfect antidote to a synthetic, overblown movie summer: a blast of exuberant fun that stays rooted in humanity.
    • 67 Metascore
    • 75 Peter Travers
    Count Cinderella as a dazzling dream of a movie from director Kenneth Branagh, who can leap from the Bard (Henry V) to the boffo (Thor) with no apparent sweat.
    • 47 Metascore
    • 75 Peter Travers
    Hot! Hot! Hot!
    • 57 Metascore
    • 75 Peter Travers
    The blistering confrontation scene between Hopper and Walken -- both in peak form -- will be talked about for years. It's pure Tarantino: a full-throttle blast of bloody action and verbal fireworks.
    • 47 Metascore
    • 75 Peter Travers
    Powerfully moving and fanatically obtuse in equal doses. The typical star rating doesn't apply, because scenes range from classic to poor and all stops in between.
    • 68 Metascore
    • 75 Peter Travers
    With a $15,000 budget too puny to empty a petty-cash drawer, the no-frills Paranormal Activity comes packed with thrills.
    • 55 Metascore
    • 75 Peter Travers
    Lightweight but utterly beguiling.
    • 81 Metascore
    • 75 Peter Travers
    These three unimprovable actresses make The Hours a thing of beauty.
    • 62 Metascore
    • 75 Peter Travers
    Even the film's missteps (the score, by Barrington Pheloung, is cringe-inducing) can't stop this meditation on love -- Martin calls it "Jane Austen for the twenty-first century" -- from melting into heartbreak.
    • 54 Metascore
    • 75 Peter Travers
    Lee's technique is impeccable, but he's chasing more inner demons than one creature feature can handle. No wonder the audience cheers when TV Hulk Lou Ferrigno shows up for a cameo. It's a reminder of a time when it was easier being green and a Hulk could just get pissed off and bust shit up.
    • 75 Metascore
    • 75 Peter Travers
    Kitano is a riveting spectacle. So's the movie.
    • 62 Metascore
    • 75 Peter Travers
    Cool stuff. Cool movie.
    • 55 Metascore
    • 75 Peter Travers
    What makes it delicious fun is Posey, a party girl for the ages.
    • 73 Metascore
    • 75 Peter Travers
    Writer-director Jacques Audiard (A Prophet) probes the psyches of two people in crisis. His hypnotic film means to shake you, and does. Schoenaerts reveals unexpected layers in Ali. And Cotillard delivers a tour de force of unleashed emotions. She's astonishing.
    • 55 Metascore
    • 75 Peter Travers
    Hopkins and Mirren are acting pros in stellar form. There's no way you want to miss the pleasure of their company in a movie that offers a sparkling and unexpectedly poignant look at how to sustain a career and a marriage.
    • 55 Metascore
    • 75 Peter Travers
    The stunts dazzle until you miss the low-key charm and cost-conscious inventiveness of the original. Desperado is best when Rodriguez lets his playful side cut through the blare of a born filmmaker indulging his first chance at high-end Hollywood fireworks.
    • 71 Metascore
    • 75 Peter Travers
    Christopher Plummer steals the show without resorting to camp as Nicholas' wounded and wounding Uncle Ralph. It's a great performance and a reminder of Dickens' grandeur. This Cliff's Notes of a film, though lively fun, only hints at that.
    • 64 Metascore
    • 75 Peter Travers
    Lurie has crafted a different kind of thriller, one with a mind and a heart.
    • 72 Metascore
    • 75 Peter Travers
    My advice? Just go with ParaNorman. There's magic in it.
    • 56 Metascore
    • 75 Peter Travers
    Leatherheads is most on its game when it's in the game, and in the zone of Clooney's no-bull affection for the faces of his actors.
    • 56 Metascore
    • 75 Peter Travers
    As a thriller, The Recruit is merely an entertaining ride. But remember: Nothing is what it seems. It's the subtext -- two actors from different generations faking each other out with skill and affection -- that counts.
    • 67 Metascore
    • 75 Peter Travers
    You could call it an Aussie "Dreamgirls." I'd call it a blast of joy and music that struts right into your heart.
    • 56 Metascore
    • 75 Peter Travers
    Foster keeps the party hopping, although more dark humor would have helped before she winds it down with sentiment and bromides.
    • 58 Metascore
    • 75 Peter Travers
    This mesmerizing mind-bender ought to prove two things: (1) Robert Pattinson really can act; (2) Director David Cronenberg never runs from a challenge.
    • 67 Metascore
    • 75 Peter Travers
    It also addresses questions of aging and neglect that Hollywood likes to run from. Langella, who's played everyone from Dracula to Nixon onscreen, is giving a master class in acting. Enroll now.
    • 43 Metascore
    • 75 Peter Travers
    Because Allen hasn't lost his knack for slapstick with a sting, Anything Else hits its mark more often than not.
    • 56 Metascore
    • 75 Peter Travers
    It's a winner. And not just for oenophiles. Director Randall Miller, who co-wrote the script with his wife Jody Savin, keeps the plot brimming with spirit and wit.
    • 48 Metascore
    • 75 Peter Travers
    Potent if hardly evenhanded documentary.
    • 75 Metascore
    • 70 Peter Travers
    The acid comedy of Grant's performance carries the film. It helps also that newcomer Hoult is that rare child actor who mercifully underplays the pathos of his role.
    • 53 Metascore
    • 70 Peter Travers
    Irresistibly silly.
    • Rolling Stone
    • 54 Metascore
    • 70 Peter Travers
    A top cast, guided by actress Bonnie Hunt in her directing debut, mixes comedy and corn with savvy.
    • Rolling Stone
    • 62 Metascore
    • 70 Peter Travers
    Smash acting debut of Combs, who brings ease and charm to a crime lord.
    • 56 Metascore
    • 70 Peter Travers
    They turn what could have been an acting stunt into an intimate and compelling study of bruised emotions.
    • 52 Metascore
    • 70 Peter Travers
    Who needs iambic pentameter when you have Jet Li around?
    • Rolling Stone
    • 49 Metascore
    • 70 Peter Travers
    It's visual magic, and director Barry Sonnenfeld, who followed his MIB high with the lows of "Wild Wild West" and "Big Trouble," revels in it. He doesn't so much direct MIBII as load it with cool stuff and flit around to whatever takes his fancy. As summer escapism goes, you could do worse.
    • 61 Metascore
    • 70 Peter Travers
    The new Count moves with the smooth, plastic efficiency of a TV miniseries. Inspiration and originality may be in short supply, but the movie gets the job done.
    • 45 Metascore
    • 70 Peter Travers
    It's all part of the joke. Soderbergh may have created a bit of a mess with Full Frontal, but it's a playful and scrappy mess.
    • 63 Metascore
    • 70 Peter Travers
    The idea of the boiler room as a Y2K gladiator ring for disenfranchised youth provides a proactive new twist.
    • Rolling Stone
    • 62 Metascore
    • 70 Peter Travers
    Blethyn's solid-gold charm turns Saving Grace into a comic high.
    • Rolling Stone
    • 73 Metascore
    • 70 Peter Travers
    The plot is too implausible to rank with "Unforgiven," but, oh, what a fun ride.
    • Rolling Stone
    • 65 Metascore
    • 70 Peter Travers
    The battle, expertly shot by Dean Semler, captures the chaos of guerrilla warfare paralleled in "Black Hawk Down" and gives the film a scarring documentary realism.
    • 51 Metascore
    • 70 Peter Travers
    Keep your eye on Kidman, whose kinky, kittenish performance turns unexpected emotional corners that pull you up short.
    • 55 Metascore
    • 70 Peter Travers
    As long as Green is onscreen, which is not nearly enough, Road Trip is easy to get revved up about.
    • Rolling Stone
    • 67 Metascore
    • 70 Peter Travers
    The time shifting raises questions the movie never answers, but it's hard not to enjoy the ride.
    • Rolling Stone
    • 66 Metascore
    • 70 Peter Travers
    The show belongs to Geoffrey Rush in a note-perfect performance as Harry Pendel, the tailor.
    • 62 Metascore
    • 70 Peter Travers
    Draws an electric performance from Peter Mullan.
    • 46 Metascore
    • 70 Peter Travers
    Karmel delivers feminist fun even a guy can get.
    • Rolling Stone
    • 30 Metascore
    • 70 Peter Travers
    What The Replacements does have is energy.
    • Rolling Stone
    • 47 Metascore
    • 70 Peter Travers
    It's not a pretty picture, but it is a pretty funny one when Gene Hackman shows up as William B. Tensy, a Palm Beach tobacco tycoon.
    • 44 Metascore
    • 70 Peter Travers
    A lighter-than-air comedy than runs on pure fizz.
    • Rolling Stone
    • 54 Metascore
    • 70 Peter Travers
    Nothing new here except model-turned-actress Bellucci. To call her noteworthy would be an understatement.
    • 69 Metascore
    • 70 Peter Travers
    Eyes sees what it wants to see, but it's a riveting glimpse.
    • Rolling Stone
    • 45 Metascore
    • 70 Peter Travers
    Friedkin turns on the juice and Jones and Jackson let it rip.
    • Rolling Stone
    • 65 Metascore
    • 70 Peter Travers
    It's not the identity of the killer that gives Seven its kick -- it's the way Fincher raises mystery to the level of moral provocation.
    • 61 Metascore
    • 70 Peter Travers
    Charmer of a comedy.
    • Rolling Stone
    • 66 Metascore
    • 70 Peter Travers
    The grand becomes grandiose and the lyrical turns bombastic.
    • 74 Metascore
    • 70 Peter Travers
    It's a tall order that Tucci is not up to filling. But don't discount the pleasure of watching him try.
    • Rolling Stone
    • 40 Metascore
    • 70 Peter Travers
    Tarsem uses the dramatically shallow plot to create a dream world densely packed with images of beauty and terror that cling to the memory even if you don't want them to.
    • Rolling Stone
    • 43 Metascore
    • 70 Peter Travers
    Hackman and Freeman will pin you to your seat.
    • Rolling Stone
    • 68 Metascore
    • 70 Peter Travers
    Director Doug Liman -- the hip skipper of "Swingers" and "Go" -- makes all the familiar dirty business seem fun and almost human. In these dog days, Bourne earns what passes as high praise: It doesn't suck.
    • 68 Metascore
    • 70 Peter Travers
    OK, the plot is inane, Val-gal-speak is a clichT, and Heckerling was more incisive covering similar hormonal ground 13 years ago in "Fast Times at Ridgemont High." But there's still wicked good fun to be had.
    • 53 Metascore
    • 70 Peter Travers
    The dark fantasist in Lucas makes a comeback after years of once-over-lightly.
    • 69 Metascore
    • 70 Peter Travers
    The funny and touching result is worth cheering for.
    • 60 Metascore
    • 70 Peter Travers
    It's Bettany's portrait of the monster as a young man that rivets attention. So remember the name, or don't. Just watch Bettany strut his stuff. You'll know a star when you see one.
    • 72 Metascore
    • 70 Peter Travers
    Old master Eric Rohmer, 82, uses new tricks in the form of painted backdrops inserted digitally to create a virtual reality. Rohmer goes Lucas - who could have guessed?
    • 80 Metascore
    • 70 Peter Travers
    A feast of a film done on a low budget with a menu featuring top-grade acting, writing and direction.
    • 62 Metascore
    • 70 Peter Travers
    Baldwin is a marvel in a casting surprise that pays off.
    • Rolling Stone
    • 65 Metascore
    • 70 Peter Travers
    Whether audiences are pleased or vexed, very vexed, by A.I., any movie buff worth his salt will want to sift through this fascinating wreck of a movie.
    • 45 Metascore
    • 70 Peter Travers
    Crowe's tantalizing film sticks with you.
    • 61 Metascore
    • 70 Peter Travers
    Bosworth is a star in the making, but even she can't outshine the surfing footage, which is flat-out spectacular.
    • 64 Metascore
    • 70 Peter Travers
    Is the movie any good? At the dawn of the twenty-first century, when art is defined by commerce, this question is beside the point.
    • 41 Metascore
    • 70 Peter Travers
    It's Vincent D'Onofrio as Pooh-Bear, a drug lord who's snorted so much meth his nose had to be replaced by a plastic one, who kicks ass.
    • Rolling Stone
    • 54 Metascore
    • 70 Peter Travers
    It's a dumb summer movie done with smarts.
    • 60 Metascore
    • 70 Peter Travers
    Everett, whose scenes with Firth are a droll delight, nails every sly laugh. And Witherspoon adds her own legally blond American sparkle to this British party.
    • 75 Metascore
    • 70 Peter Travers
    The film belongs to Blanchett -- this hellcat Virgin Queen is something to see.
    • 63 Metascore
    • 63 Peter Travers
    Miller's wake-up call is meant to be ours. Too little and too late? Maybe. But even in this Bourne Zone, Damon and Greengrass haven't shirked their duty to enlighten and entertain.
    • 45 Metascore
    • 63 Peter Travers
    Susan Minot’s resplendent novel of a dying woman…stumbles on its way to the screen.
    • 53 Metascore
    • 63 Peter Travers
    Headland can write zingers that would make the cruelest bridezilla blush. And Caplan's treatise on the art of the blow job is time-capsule worthy. Sadly, Bachelorette is a comic cocktail that goes heavy on the bitters. That's no way to end a wedding.
    • 56 Metascore
    • 63 Peter Travers
    At best diverting, at worst drearily conventional, The Rum Diary is pre-gonzo Thompson, before the fusion of fact and trippy fantasy that flowered into a brilliant delirium.
    • 56 Metascore
    • 63 Peter Travers
    Tom Cruise starring in the fact-based story of a plot to kill Hitler by Nazi Col. Claus von Stauffenberg sounds like Oscar bait. It isn't. And the sooner you accept it, the more fun you'll have at this satisfying B movie.
    • 63 Metascore
    • 63 Peter Travers
    Just when you're ready to puke, the old Bill Conti theme ("Gonna Fly Now") kicks in -- are you feeling it? -- Stallone steps in the ring and every day is Christmas. All together now: Rock-ee! Rock-ee!
    • 70 Metascore
    • 63 Peter Travers
    The film is most riveting in its early scenes, when Soderbergh's digital cameras locate germs everywhere – don't touch those peanuts!
    • 49 Metascore
    • 63 Peter Travers
    Allen, who stays behind the camera, brings too little wit and too much contrivance to material that quickly dissolves into warmed-over Dostoevski.
    • 66 Metascore
    • 63 Peter Travers
    But, oh, that dragon. I'd endure another slog through Middle-Earth just to spend more time with Smaug.
    • 70 Metascore
    • 63 Peter Travers
    Director Andrew Currie is better at laughs than scares, but he can’t sustain either as Fido runs out of steam in the final stretch. Till then, it’s fiendish fun.
    • 58 Metascore
    • 63 Peter Travers
    The film, which is literary to a fault, includes an earthquake, but if the earth moves at all, thank Hayek, who gives the tale a smoldering life that finally lifts it from the page.
    • 45 Metascore
    • 63 Peter Travers
    Whatever Works feels like something out of time and, worse, out of step. Hell, Allen wrote the script back in the 1970s for Zero Mostel.
    • 54 Metascore
    • 63 Peter Travers
    Is Knoxville going soft on us? Nah. Bad Grandpa is still the f***ed-up family movie of choice, especially if your family has done jail time.
    • 60 Metascore
    • 63 Peter Travers
    It's the spirit that Biggie Smalls, born Christopher Wallace, put into inventing himself and his music that ignites Notorious, a biopic that sees the flaws in the man but can't help accentuating the positive.
    • 58 Metascore
    • 63 Peter Travers
    Li is action poetry in motion. Damn them for spoiling our popcorn fun with salty tear-jerking.
    • 64 Metascore
    • 63 Peter Travers
    Stay in your seat for the end credits, in which Murray waters a dying plant and karaokes to Bob Dylan's "Shelter from the Storm." That alone is worth double the price of admission.
    • 68 Metascore
    • 63 Peter Travers
    In this muddled but marvelous blend of documentary and concert film, director Lian Lunson takes you down to a place where it's possible to look closely at the life and art of cult troubadour Leonard Cohen.
    • 68 Metascore
    • 63 Peter Travers
    The voice work is exceptional, with a special nod to Maggie Gyllenhaal as a toxic-tongued baby sitter and Jason Lee as her raunchy-to-the-point-of-depraved boyfriend. Kenan is a talent to watch, even in a flick that doesn't know when to quit.
    • 60 Metascore
    • 63 Peter Travers
    The intensity of Leto and Hayek goes deeper than the script into revealing what makes these two sociopaths in heat impervious to bloody murder. When Hayek and Leto are onscreen, you do not look away.
    • 64 Metascore
    • 63 Peter Travers
    Now that the fanboy hype has cleared, we can see Cloverfield for what it is: borrowed inspiration, trite screenwriting and amateurish acting all in the service of a ballsy idea -- that a horror movie could maybe, just maybe, have a soul.
    • 80 Metascore
    • 63 Peter Travers
    Homer even jokes that it takes a sucker to pay for a show you can get for free on TV. D'oh! That hurts.
    • 65 Metascore
    • 63 Peter Travers
    Say what you will about the Runaways – they never played it safe. The movie does.
    • 51 Metascore
    • 63 Peter Travers
    Starting at infantile and regressing hysterically from there, Step Brothers flies on the comic chemistry of Will Ferrell and John C. Reilly.
    • 48 Metascore
    • 63 Peter Travers
    Special kudos to Freeman, who kills it on the dance floor and later while drunk off his ass on vodka and Red Bull. You'll groan as much as howl at the jokes, but the veteran stars have a ball acting their age. Even when all else fails them, they're good company.
    • 53 Metascore
    • 63 Peter Travers
    Coscarelli junkies won't be bothered by the film's herky-jerky rhythms. Go for the freaky fun of it, though a little soy sauce on the side sure wouldn't hurt.
    • 62 Metascore
    • 63 Peter Travers
    With this cast, you are guaranteed moments of inspired lunacy. It's still fun watching Cleese get caught with his pants down. But the material seems familiar and overworked.
    • 55 Metascore
    • 63 Peter Travers
    The heavy plot sauce weighs down the movie. Director Lasse Hallstrom had similar buoyancy problems in 2000's bewilderingly Oscar-nominated "Chocolat." Here he lucks out big time with Mirren and Puri, two pros who know how to lift an audience over plot hurdles and turn a merely digestable diversion into a treat.
    • 58 Metascore
    • 63 Peter Travers
    Eastwood and Adams are just so much damn fun to watch.
    • 57 Metascore
    • 63 Peter Travers
    A tart, terrific comedy that gives Harrison Ford his best and funniest role in years.
    • 62 Metascore
    • 63 Peter Travers
    For all the clanking armies of iron knights on display to dazzle the eager kid in each of us, this summer epic rings hollow. There's no one home inside the suit.
    • 58 Metascore
    • 63 Peter Travers
    The Dictator leaves you laughing helplessly. It starts at outrageous and rockets on from there. Screw the occasional sputter.
    • 57 Metascore
    • 63 Peter Travers
    Here's a hit-and-miss farce that leaves you wishing it was funnier than it is. Why? Because it wussies out on a sharp premise.
    • 55 Metascore
    • 63 Peter Travers
    Tusk is a mesmerizing mess that will make Joe Popcorn yak. Jay and Silent Bob will love it.
    • 49 Metascore
    • 63 Peter Travers
    Even at its hokiest, Far and Away is never less than heartfelt.
    • 56 Metascore
    • 63 Peter Travers
    It didn't grab me. Not at first. A documentary that tracks the winner of a reality show -- in this case Bravo's Project Runway -- after his victory. Huh? But Eleven Minutes busts a few fresh moves.
    • 45 Metascore
    • 63 Peter Travers
    Vaughn and Favreau are so money, just like they were in "Swingers."
    • 68 Metascore
    • 63 Peter Travers
    End of Watch gives you the savage whoosh of being on a job that can get you killed. Sins of cop clichés can be forgiven when a movie pays honest tribute to police on the line.
    • 65 Metascore
    • 63 Peter Travers
    Audiences looking for emotional resonance in Indy 4 are doomed to the temple of disappointment. Spielberg and Lucas aren't upping their creative game -- they're taking care of business.
    • 52 Metascore
    • 63 Peter Travers
    Exodus is a biblical epic that comes at you at maximum velocity but stays stirringly, inspiringly human.
    • 49 Metascore
    • 63 Peter Travers
    Pine is driven and touchingly vulnerable. And Banks, heartbreakingly good, nails every nuance in a raw wound of a role. Thanks to their teamwork, we believe we are watching people like us.
    • 57 Metascore
    • 63 Peter Travers
    Jack Ryan: Shadow Recruit has no personality of its own. It's a product constructed out of spare parts and assembled with computerized precision. It's hard to care when Jack turns operational and becomes a CIA robocop. The movie feels untouched by human hands.
    • 54 Metascore
    • 63 Peter Travers
    It's the Mob connection that allows Eastwood to add shading and a sharper edge.
    • 57 Metascore
    • 63 Peter Travers
    The film rambles, but rambling with the mischievous Roos is still a tricky and winning proposition.
    • 71 Metascore
    • 63 Peter Travers
    The subplot involving a tragic romance between a soldier and one of the living statues (the lovely Kelly Reilly) is hell on the humor and on a movie that stays content to do the trite thing.
    • 36 Metascore
    • 63 Peter Travers
    The movie is full of possibilities. Frustratingly, only a few of them are realized.
    • 66 Metascore
    • 63 Peter Travers
    Working from a deft script by Delia Ephron, director Ken Kwapis labors hard so that guys won't cringe (too much) as four teen girls, of different body types, pass along the same pair of lucky jeans during a summer of love and loss.
    • 66 Metascore
    • 63 Peter Travers
    The laughs come and go, but Ferrell makes NASCAR his bitch funny. Funnier. And more fun. And then the fun skids to a stop. You know how it goes: Plot gets in the way.
    • 53 Metascore
    • 63 Peter Travers
    Piranha 3D ends the summer on a note of shamelessly entertaining B movie bottomfeeding.
    • 44 Metascore
    • 63 Peter Travers
    You have to admire Nakata's skill at letting the dead run free while hinting that we may have more to fear from the living. With a braver step in that direction, this middling movie would ring more than box-office bells.
    • 62 Metascore
    • 63 Peter Travers
    Drags and sags at 124 minutes. Luckily, the movie never runs on sitcom empty. How could it, with a terrific cast.
    • 63 Metascore
    • 63 Peter Travers
    It's the bruised history of these brothers that gives Out of the Furnace its beating heart and the power to grip you hard.
    • 62 Metascore
    • 63 Peter Travers
    It's Bell – riding high with the Disney-animated "Frozen" and Showtime's carnal-fixated "House of Lies" – you want to follow anywhere. Bell is irresistible, and she makes us care.
    • 58 Metascore
    • 63 Peter Travers
    It's a fun ride. What's missing is the excitement of a new interpretation.
    • 61 Metascore
    • 63 Peter Travers
    Gilroy stages two riveting shootouts involving Marta at work and home. And there's a killer chase scene in Manila as the bad guys try to knock Aaron and Marta off their speeding motorcycle. It's all sound and fury signifying nothing except a desperate need to feed a franchise.
    • 50 Metascore
    • 63 Peter Travers
    The jokes never go deep, the toothless bites at the system leave no marks. It's only the wild-card energy of Ferrell and Galifianakis that keeps you on the ticket.
    • 48 Metascore
    • 63 Peter Travers
    Affleck's provocative, postmodern take on JP as half-joke, half-victim is the damnedest plunge into the dark heart of our "reality" culture since Sacha Baron Cohen invented Borat.
    • 61 Metascore
    • 63 Peter Travers
    Delpy is boundlessly appealing. And Rock is acerbic fun, notably in the imaginary debates he stages with Obama. But the frenzied cross-cultural gags take the piss out of the real subject: how blood ties can turn love into a battlefield.
    • 58 Metascore
    • 63 Peter Travers
    Lawless is a solid outlaw adventure, but you can feel it straining for a greatness that stays out of reach. There's even a prologue and an epilogue, arty tropes signifying an attempt to make a Godfather-style epic out of these moonshine wars. Not happening.
    • 53 Metascore
    • 63 Peter Travers
    Still, even Disney and a PG rating can't bury Burton's subversive wit. Like Carroll, he's a master at dressing up psychic wounds in fantasy.
    • 52 Metascore
    • 63 Peter Travers
    Here's a better than average spook-house movie, mostly because Insidious decides it can haunt an audience without spraying it with blood.
    • 55 Metascore
    • 63 Peter Travers
    In a rare instance of truth in advertising, the movie actually is a good time.
    • 65 Metascore
    • 63 Peter Travers
    Sadly, Lumet's skill at bringing out the juice in actors isn't enough to save the film from overkill.
    • 51 Metascore
    • 63 Peter Travers
    John Carter bites off more than even Woola can chew, but it's built on something rare: wonder instead of Hollywood cynicism.
    • 53 Metascore
    • 63 Peter Travers
    This Brooks is a comedian who forgets the golden rule of "know your audience." He thinks he'll get his laughs if he keeps doing the same act with better lighting.
    • 67 Metascore
    • 63 Peter Travers
    Van Sant, following "Gerry" and the superb "Elephant," is on the same elliptical quest. His journey is labored but undeniably hypnotic.
    • 45 Metascore
    • 63 Peter Travers
    This hot mess got booed by the snobs at Cannes, but there's no denying its profane energy.
    • 58 Metascore
    • 63 Peter Travers
    What saves Point Break from wipeout is Kathryn Bigelow's direction. Though the film lacks the formal beauty and allure of her Near Dark and Blue Steel, Bigelow keeps the action percolating in high style.
    • 49 Metascore
    • 63 Peter Travers
    "Paranormal Activity" has been here before, of course, but Silent House springs tangy new tricks, and Olsen is a primo scream queen.
    • 56 Metascore
    • 63 Peter Travers
    Knoxville and his boys seem to be saying goodbye. To which I can't help thinking, fondly, it's time.
    • 43 Metascore
    • 63 Peter Travers
    Props to Kutcher for going to surprising, painful places. There's something haunted in his portrayal that hits hard and sticks.
    • 63 Metascore
    • 63 Peter Travers
    Until Richard Wenk's script drives the characters into a brick wall of pukey sentiment, it's a wild ride.
    • 61 Metascore
    • 63 Peter Travers
    Sam Rockwell has yet to find a movie as good as he is (Moon comes closest). He's still looking.
    • 69 Metascore
    • 63 Peter Travers
    Any resemblance between this Bad Lieutenant and the 1992 Abel Ferrara landmark is purely in the head of the dude who thought up the title.
    • 50 Metascore
    • 63 Peter Travers
    The Saint leaves star Val Kilmer and director Phillip Noyce (Patriot Games) fighting to enliven an exhausted character.
    • 46 Metascore
    • 63 Peter Travers
    Which one of these women is the most irredeemable? Coming to grips with that question is what gives the flawed but fascinating Every Secret Thing its power to haunt.
    • 62 Metascore
    • 63 Peter Travers
    A recent showing of Burton's artwork at New York's Museum of Modern Art attracted long lines and critical brickbats. Maybe that's why Big Eyes, for all its tonal shifts and erratic pacing, seems like Burton's most personal and heartfelt film in years, a tribute to the yearning that drives even the most marginalized artist to self expression no matter what the hell anyone thinks.
    • 50 Metascore
    • 63 Peter Travers
    In Portman's dynamic performance you can see strength and vulnerability warring for Anne's soul. In this bedroom view of history, it's that image that sticks.
    • 62 Metascore
    • 63 Peter Travers
    42
    Given Helgeland's rep as a screenwriter (including an Oscar for 1997's L.A. Confidential), it rankles that 42 settles for the official story. The private Robinson, who died of a heart attack at 53 in 1972, stays private. We stay on the outside looking in. Let it be.
    • 52 Metascore
    • 63 Peter Travers
    It's all in the telling. Gruen provided grit and pungent detail. The movie settles for gloss.
    • 57 Metascore
    • 63 Peter Travers
    Daybreakers, despite the star presence of Ethan Hawke and Willem Dafoe, is a B movie, with all the disreputable low rent, lowbrow pleasures that implies. I'll take that over pompous any day.
    • 48 Metascore
    • 63 Peter Travers
    If you're ready to go with the hit-and-miss flow, you'll laugh your ass off.
    • 58 Metascore
    • 63 Peter Travers
    The effects are cheese-whizzy fun, but it's the unexpected spark between Smith and Brolin that makes MiB3 primo summer fun. Way cool.
    • 48 Metascore
    • 63 Peter Travers
    Only near the end, when MacArthur and Hirohito meet in person, do we get fireworks. And that's thanks to Jones, who makes sure this old soldier will never die in our memory. As for this tepid movie, it just fades away.
    • 63 Metascore
    • 63 Peter Travers
    Rio
    A brightly-colored, dizzying pinwheel of 3D animation in which nothing much happens. Sounds like summer is here early.
    • 57 Metascore
    • 63 Peter Travers
    Sy and Cluzet are superb actors who demolish stereotypes about race and social class by finding a common humanity in their characters. Acting this good forgives a lot of sins.
    • 61 Metascore
    • 63 Peter Travers
    If it's hip to be square, then this racehorse movie is the ultimate in cornball cool.
    • 56 Metascore
    • 63 Peter Travers
    I'm a sucker for caper movies in which impossibly clever con artists do impossibly dangerous things while looking impossibly gorgeous. I could feel Focus trying to be that caper. I'm not asking for nirvana, such as Hitchcock's "Notorious" or David O. Russell's "American Hustle," just a taste of sexy escapism. A taste is all you get in Focus, but it'll do till the whole enchilada comes along.
    • 60 Metascore
    • 63 Peter Travers
    Bahrani is a gifted filmmaker. But he shoots himself in the foot by throwing in a contrived plot device that creates drama at the expense of credibility. Suddenly, we're isolated from a film that had made us believe. It's a breach of trust that comes at too high a price.
    • 48 Metascore
    • 63 Peter Travers
    The dialogue is witty and spiked with delicious malice. At least it is when Pierce delivers it.
    • 65 Metascore
    • 63 Peter Travers
    Chastain (a nifty match-up with Mirren) is a live wire, and her scenes with Csokas and Worthington have a spark the later scenes lack. No matter. The Debt holds you in its grip.
    • 61 Metascore
    • 63 Peter Travers
    After the delicious treat of 2011's "The Muppets," with Jason Segel and Amy Adams joining Kermit, Miss Piggy and the gang, Muppets Most Wanted feels like tasteless leftovers.
    • 57 Metascore
    • 63 Peter Travers
    Snow White and the Huntsman is definitely a missed opportunity. Sanders was on to something in taking the Snow White tale to its most menacing extreme.
    • 52 Metascore
    • 63 Peter Travers
    Gondry and the gifted indie cinematographer Ellen Kuras have fun with the amateur versions of the likes of "RoboCop," "Rush Hour," "2001: A Space Odyssey," "King Kong" and "Driving Miss Daisy." These snippets are fun but frustratingly brief.
    • 71 Metascore
    • 63 Peter Travers
    From him (Fincher), we get – what? – a faithful adaptation that brings the dazzle but shortchanges on the daring.
    • 75 Metascore
    • 63 Peter Travers
    This PG-rated movie feels safe and constricted in a way the story never does on the page. It leaves out the deep magic of a good movie, or a good sermon: the feeling that something vital is at stake.
    • 57 Metascore
    • 63 Peter Travers
    The material shows its age when McCall goes all "Taxi Driver" to save a teen hooker (a scrappy Chloë Grace Moretz) from her pimps. But Washington and director Antoine Fuqua, who teamed for the actor's Oscar-winning role in 2001's "Training Day," keep the action humming.
    • 69 Metascore
    • 63 Peter Travers
    Yes, the sets and costumes elicit swoons, but it's the peerless Sondheim score, however truncated, that makes this Woods a prime destination.
    • 66 Metascore
    • 63 Peter Travers
    The surprise is how effective Wingard is at keeping the atmosphere jumpy and tense. And you can't help rooting for Erin, who could win Survivor if she went on the show. Vinson's take-charge performance is the life of this badass party. When you're ducking in your seat, it's nice to have someone to root for.
    • 53 Metascore
    • 63 Peter Travers
    If you're looking for wicked fun this Halloween, Paranormal Activity 2 is the best goosebump game in town.
    • 45 Metascore
    • 63 Peter Travers
    Brosnan, on a roll with this film and "The Ghost Writer," vividly etches the emotional fissures in a man coming apart. The Greatest takes a piece out of you.
    • 66 Metascore
    • 63 Peter Travers
    Here's the funny thing: Despite all the Captain America rah-rah in costume and indestructible shield, the movie is at its best when the story sticks with skinny Steve.
    • 65 Metascore
    • 63 Peter Travers
    At first it's a kick to watch Clint Eastwood play Steve Everett, a horn-dog newsman...Is Clint being Clinton-esque? Even if he's not, these scenes are the liveliest part of this dog-tired movie.
    • 28 Metascore
    • 63 Peter Travers
    Though the movie ups the TV ante on nudity, language and violence, Lynch's control falters. But if inspiration is lacking, talent is not.
    • 57 Metascore
    • 63 Peter Travers
    Byrne is sensational, finding the broken places under Justine's rebellious hot-mom surface. Nothing groundbreaking here, but there's something to be said for a fun time that won't let the laughs go down too easy.
    • 55 Metascore
    • 63 Peter Travers
    Gibson's acting has deepened. Too bad his comeback vehicle springs so many leaks.
    • 63 Metascore
    • 63 Peter Travers
    Hot Tub Time Machine should have been better than this. It could have been poignant.
    • 60 Metascore
    • 63 Peter Travers
    We get bracing bro banter, pectoral flexing and the whole gang going wild on Molly. Good times.
    • 48 Metascore
    • 63 Peter Travers
    The movie can be enjoyed for the hell-raising hooey it is.
    • 51 Metascore
    • 63 Peter Travers
    If Singleton, 25, stumbles, it is over ambition and not the complacency of a new Hollywood hotshot riding a trend.
    • 58 Metascore
    • 63 Peter Travers
    The acting styles of Streep and Roberts, both Golden Globe nominees, don’t exactly mesh, but they’re a hoot.
    • 55 Metascore
    • 63 Peter Travers
    The film's major sin of omission: the music.
    • 72 Metascore
    • 63 Peter Travers
    Documentarian Alexandra Lipsitz believes that air-guitar competitions are worth a whole feature-length movie. She's wrong, of course. But the fun lasts longer than you might think.
    • 72 Metascore
    • 63 Peter Travers
    The jokes are hit-and-miss. But Stone is one sassy babe and a breakout star who nails every zinger and brings genuine warmth to her scenes with her parents, played by the priceless Patricia Clarkson and Stanley Tucci. You mean girls can eat it.

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