Peter Travers
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For 2,434 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 Truly Madly Deeply
Lowest review score: 0 The Tourist
Score distribution:
2,434 movie reviews
    • 77 Metascore
    • 75 Peter Travers
    A movie that offers hard speculation and harder truths. You won't be able to get it out of your head.
    • 62 Metascore
    • 75 Peter Travers
    Even when the film goes too far over the top to be saved, McConaughey mesmerizes.
    • 67 Metascore
    • 75 Peter Travers
    The result is something you won't see coming. Don't look for sweet and embraceable. This movie is not afraid to show its claws. Like the spirited teamwork of Kazan and Dano, Ruby Sparks is honest, deep and true.
    • 79 Metascore
    • 75 Peter Travers
    A fresh and unexpected documentary that plays like a nail-biting mystery and a ticket to ride the whirlwind where art and commerce do battle.
    • 59 Metascore
    • 75 Peter Travers
    What really lifts Celeste and Jesse Forever above the rom-com herd, besides breakout star performances from Jones and Samberg, is the movie's willingness to replace clichés with painful truths. It's irresistible.
    • 65 Metascore
    • 75 Peter Travers
    Hope Springs knows happy endings are provisional. What this exuberant gift of a movie offers Kay and Arnold is a renewed appetite for life. And that never gets old.
    • 72 Metascore
    • 75 Peter Travers
    My advice? Just go with ParaNorman. There's magic in it.
    • 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.
    • 68 Metascore
    • 75 Peter Travers
    Craig Zobel's potent and provocative Compliance is torture to sit through. It's also indispensable filmmaking. How is that possible? Check it out.
    • 67 Metascore
    • 75 Peter Travers
    Perks deserves points for going beyond the typical coming-of-age drivel aimed at teens.
    • 66 Metascore
    • 75 Peter Travers
    Blood splatters, heads explode, and McDonagh takes sassy, self-mocking shots at the very notion of being literary in Hollywood. It's crazy-killer fun.
    • 71 Metascore
    • 75 Peter Travers
    Don't forget Winstead when making a list of the year's Best Actress contenders. Yes, she's that good.
    • 72 Metascore
    • 75 Peter Travers
    Moore brings a video junkie's passion to the movie game, and it's hilariously infectious.
    • 67 Metascore
    • 75 Peter Travers
    Grace notes abound in A Late Quartet, a small, shining gem of a movie that works its way into your heart with insinuating potency of music.
    • 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.
    • 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.
    • 62 Metascore
    • 75 Peter Travers
    As an actor, Burns has worked the Hollywood game from "Saving Private Ryan" to "Alex Cross." But his core passion is for making indie movies without studio interference, guerilla style. Because he takes his films personally, so do we. The Fitzgerald Family Christmas is one of his best.
    • 50 Metascore
    • 75 Peter Travers
    This is Cruise's show. And he nails it. The patented smile is gone, replaced by a glower that makes Jack Reacher a dark and dazzling ride into a new kind of hell.
    • 59 Metascore
    • 75 Peter Travers
    That's what makes This Is 40 so potently, painfully funny, even when it's gross. What other film would dare suggest rectal monitoring as a form of closeness?
    • 65 Metascore
    • 75 Peter Travers
    His (Chase) ardent, acutely observed debut makes him, at 67, a filmmaker to watch.
    • 55 Metascore
    • 75 Peter Travers
    Director Gus Van Sant finds the human side of a knotty issue. No polemics. Just the face of a new America in crisis.
    • 64 Metascore
    • 75 Peter Travers
    The actors are world-class charmers, and the magnificent Dame Maggie is the diva divine. Her wit still stings, as it does on "Downton Abbey."
    • 58 Metascore
    • 75 Peter Travers
    Stoker is Park's darkly funny, deliciously depraved riff on Hitchcock's "Shadow of a Doubt."
    • 79 Metascore
    • 75 Peter Travers
    Exorcist junkies should look elsewhere. Instead of spinning heads and projectile puke, Mungiu offers nuance and provocation. The result is quietly devastating.
    • 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.
    • 68 Metascore
    • 75 Peter Travers
    It's a beast of a movie, an emotional roller coaster that threatens to go off the rails, and does. But Cianfrance, working from a scrappy script he wrote with Ben Coccio and Darius Marder, takes you on a hell of a ride.
    • 61 Metascore
    • 75 Peter Travers
    Dawson digs deep and nails every nuance, making the dizzying suspense resonate with raw emotion. She is, in a word, electrifying. Even when the wheels come off the too-busy plot, so is the movie.
    • 57 Metascore
    • 75 Peter Travers
    There's enough plot to stuff a miniseries, but Redford never loses sight of the human drama. Martyrdom is not conferred, nor is reinvention equated with redemption. Drawing skillfully on a first-rate cast, Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.
    • 64 Metascore
    • 75 Peter Travers
    Bateman, in a rare dramatic role, is just tremendous, finding depths of emotion where they're least expected. Disconnect works they same way. Even when it trips on its ambitions, it hits home.
    • 57 Metascore
    • 75 Peter Travers
    Badgley, best known for playing "lonely boy" Dan Humphrey on Gossip Girl, is a revelation. He wears his role like a second skin.
    • 74 Metascore
    • 75 Peter Travers
    Cartwright, find something sadly timeless in a child torn apart in a custody battle that no one wins, least of all the child.
    • 68 Metascore
    • 75 Peter Travers
    You leave The East with a hunger to know more and a good idea of where to look. For Marling and Batmanglij that counts as mission accomplished. For audiences, it’s that rare thing these days – a movie that matters.
    • 78 Metascore
    • 75 Peter Travers
    Whedon, without skimping on the tale’s tragic undercurrents, has crafted an irresistible blend of mirth and malice.
    • 56 Metascore
    • 75 Peter Travers
    The result is an uncommon intimacy, the kind you find in a Judy Blume novel. Her grit and grace are all over this heartfelt adventure of a movie. She gives it a spirit that soars.
    • 55 Metascore
    • 75 Peter Travers
    Caught in the slipstream between action and angst, Man of Steel is a bumpy ride for sure. But there's no way to stay blind to its wonders.
    • 66 Metascore
    • 75 Peter Travers
    Emma Watson is sensational as Nicki.
    • 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.
    • 62 Metascore
    • 75 Peter Travers
    It's still a first-class charm assault.
    • 64 Metascore
    • 75 Peter Travers
    What pulls us over the rough spots is the mind meld between del Toro the artist and the child inside him. They both want to astonish us. Geeks everywhere, salute.
    • 67 Metascore
    • 75 Peter Travers
    Cera, still one of a kind and still making us love him for it (Arrested Development – yes!), never flinches. Jamie is impossible to like. And yet we do because Cera plays him without an ounce of bogus ingratiation. He's terrific.
    • 68 Metascore
    • 75 Peter Travers
    It scared the living crap out of me. Only at the movies is that a compliment.
    • 83 Metascore
    • 75 Peter Travers
    Forget "The Conjuring," Blackfish may be the scariest movie around.
    • 61 Metascore
    • 75 Peter Travers
    Does Carey go too far? Duh. But why gripe when you can't stop laughing?
    • 82 Metascore
    • 75 Peter Travers
    James Ponsoldt's funny and touching coming-of-age tale covers old ground with disarming freshness.
    • 61 Metascore
    • 75 Peter Travers
    Like District 9, an allegory of apartheid that took four Oscar nods and put Blomkamp on the map, Elysium delivers sci-fi without dumbing it down. It's a hell-raiser with a social conscience.
    • 74 Metascore
    • 75 Peter Travers
    Ain't Them Bodies Saints offers no glib answers or smooth resolution, but there's no question that Lowery is a filmmaker with a striking future.
    • 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.
    • 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.
    • 61 Metascore
    • 75 Peter Travers
    If you’re looking for an orgasmic trip to heavy-metal heaven, this is it.
    • 65 Metascore
    • 75 Peter Travers
    Sex, lies, betrayal and murder set among the gods of the Beat Generation. That's Kill Your Darlings, a dark beauty of a film that gets inside your head and stays there.
    • 53 Metascore
    • 75 Peter Travers
    The simplicity of Michael Petroni’s script seems a drawback at first. But skilled director Brian Percival (Downton Abbey) slowly, effectively tightens the vise as evil intrudes into the life of this child.
    • 67 Metascore
    • 75 Peter Travers
    An idol had fallen, and Gibney and the superb director of photography Maryse Alberti were there to capture the descent, including a confessional interview in which Armstrong blames the corruption of the game far more than himself. The movie rambles at two-plus hours, but the provocation never stops.
    • 61 Metascore
    • 75 Peter Travers
    Hirsch opens his heart to the role. And Dorff, matching the depth of feeling he showed in Sofia Coppola's "Somewhere," excels at digging deep into Jerry Lee's pain.
    • 59 Metascore
    • 75 Peter Travers
    With the help of Hamilton, Ross and Olmos, sublime actors who radiate grit and grace, Sayles has made Go for Sisters a movie that stays inside your head long after you see it. It's a keeper.
    • 74 Metascore
    • 75 Peter Travers
    The animation is pretty, the songs are tuneful, and Josh Gad gets big laughs as Olaf, a snowman with a sun fetish. It's the holidays, people, work with it.
    • 65 Metascore
    • 75 Peter Travers
    A tasty swig of holiday cheer.
    • 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.
    • 54 Metascore
    • 75 Peter Travers
    In his uniquely funny and unexpectedly tender movie, Stiller takes us on a personal journey of lingering resonance.
    • 60 Metascore
    • 75 Peter Travers
    Like the best war movies, Lone Survivor laces action with moral questions that haunt and provoke.
    • 82 Metascore
    • 75 Peter Travers
    Like his characters, Guiraudie is walking a tightrope, finding the point where sex and death exude a similar allure. You won't be able to look away.
    • 52 Metascore
    • 75 Peter Travers
    Who knew? The work of the Monuments Men is fresh territory for film, and Clooney builds the story with intriguing detail and scope.
    • 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.
    • 64 Metascore
    • 75 Peter Travers
    I refuse to render a final verdict on the latest cinematic outrage from Danish provocateur Lars Von Trier until Volume Two drops its undies on April 18th. But I will say this for Volume One: It's a mesmerizing mind game.
    • 68 Metascore
    • 75 Peter Travers
    Hold off on burning Aronofsky at the stake till you see Noah, a film of grit, grace and visual wonders that for all its tech-head modernity is built on a spiritual core.
    • 70 Metascore
    • 75 Peter Travers
    Captain America: The Winter Soldier is every rousing, whup-ass thing you want in an escapist adventure.
    • 74 Metascore
    • 75 Peter Travers
    Joe
    Sheridan, so good in "Mud" with Matthew McConaughey, excels here as a vulnerable sapling.
    • 79 Metascore
    • 75 Peter Travers
    Jarmusch, as ever, has the power to sneak up on you. He's a spellbinder. The same goes for his movie.
    • 68 Metascore
    • 75 Peter Travers
    You expect hardcore hilarity from Neighbors, and you get it. It's the nuance that sneaks up on you.
    • 69 Metascore
    • 75 Peter Travers
    A hypnotic movie of harsh truth and healing compassion. It sticks with you.
    • 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.
    • 77 Metascore
    • 75 Peter Travers
    What sounds like undiluted melodrama with the hounds forever nipping at Ewa's heels is transformed by Gray into a mesmerizing meditation on the broken American promise.
    • 73 Metascore
    • 75 Peter Travers
    Get ready to squirm. Be sure to seek out this twisty and terrific sleeper in theaters or on VOD. It's a real find.
    • 65 Metascore
    • 75 Peter Travers
    Haden Church gives the movie the joyous kick it needs. His flirty thrust-and-parry with Collette is beautifully played.
    • 56 Metascore
    • 75 Peter Travers
    Even when the film falls to pieces, McAvoy's bonkers brilliance will blow you away.
    • 69 Metascore
    • 75 Peter Travers
    Green made the wise choice to be funny in telling his sad story.
    • 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.
    • 71 Metascore
    • 75 Peter Travers
    Thanks to this team of merry pranksters, 22 Jump Street hurts so good.
    • 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.
    • 62 Metascore
    • 75 Peter Travers
    It's rare to find a movie that uses music to define love without sentimentalizing it. But Begin Again, with songs by Glen Hansard and New Radicals frontman Gregg Alexander, is a wonderfully appealing exception.
    • 79 Metascore
    • 75 Peter Travers
    Dawn is dynamite entertainment, especially in the rousing first hour.
    • 54 Metascore
    • 75 Peter Travers
    Melancholy and doubt may seem like gloomy qualities to blend into an amorous romp. But that shot of gravity is what makes Magic in the Moonlight memorable and distinctively Woody Allen.
    • 53 Metascore
    • 75 Peter Travers
    The movie does Thompson proud. It's a scorcher.
    • 71 Metascore
    • 75 Peter Travers
    When Boseman shows us Brown doing his thing onstage, the movie comes alive.
    • 50 Metascore
    • 75 Peter Travers
    This is ambitious, challenging filmmaking, elevated by Franco's compassion and Haze's revelatory acting. OK, the film trips up on its attempt to lace tragedy with gallows humor. But Franco is out there trying something, balancing literature and cinema in a tightrope act that is never less than exciting to watch.
    • 77 Metascore
    • 75 Peter Travers
    This no-bull spellbinder is allergic to sentiment. Unlike porn, Wetlands keeps its humanity intact. And if Oscar didn't have a stick up his ass, Juri would be a nominee for Best Actress. Yup, she's that good. Your move.
    • 69 Metascore
    • 75 Peter Travers
    Though The Drop covers familiar ground, it simmers with charged emotion. The image that lingers belongs to Gandolfini.
    • 57 Metascore
    • 75 Peter Travers
    Jessica Chastain is a shining star with acting skills that resonate beyond her beauty. She is at her fierce, unerring best, which is saying something, in The Disappearance of Eleanor Rigby.
    • 76 Metascore
    • 75 Peter Travers
    It's hellish good fun. Stevens is mesmerizing as the avenger, helping director Adam Wingard turn The Guest into a blast of wicked mirth and malice.
    • 78 Metascore
    • 75 Peter Travers
    Tracks is an exhilarating adventure that opens up an unknown world to most of us and does it so well that we feel we're living it too.
    • 66 Metascore
    • 75 Peter Travers
    Mortensen and Isaac, expertly exchanging the faces of loyalty and betrayal, are both outstanding. Is the film too old-school for short attention spans? Maybe. Rest assured that Amini's shuddery endgame is well worth the wait.
    • 66 Metascore
    • 75 Peter Travers
    The movie has a tossed-off, caught-on-the-fly exuberance that works like a charm.
    • 64 Metascore
    • 75 Peter Travers
    Pitt is tremendous in the role, a conscience detectable even in Wardaddy's blinkered gaze. But it's Lerman who anchors the film with a shattering, unforgettable portrayal of corrupted innocence. Fury means to grab us hard from the first scene and never let go. Mission accomplished.
    • 76 Metascore
    • 75 Peter Travers
    In his third feature, following 2009's "Impolex" and 2011's "The Color Wheel," Perry, 30, offers a stinging portrait of writing as one of the bleeding arts. And he's bloody funny about it in the bargain.
    • 87 Metascore
    • 75 Peter Travers
    Force Majeure is a jolt. You won't know what hit you.
    • 68 Metascore
    • 75 Peter Travers
    John Wick is the kind of fired-up, ferocious B-movie fun some of us can't get enough of. You know who you are.
    • 74 Metascore
    • 75 Peter Travers
    This one's a winner. And Baymax, baby, call your agent. You're about to be a household name.
    • 67 Metascore
    • 75 Peter Travers
    Kudos to Stewart for making Rosewater more than an earnest plea for journalistic freedom. He makes it personal.
    • 73 Metascore
    • 75 Peter Travers
    There's enough plot here to sink a soap opera, but the actors prevail. Parker is a no-bull charmer. Driver leaves bite marks on her juicy role. And Mbatha-Raw, so good this year in "Belle", is dynamite.
    • 68 Metascore
    • 75 Peter Travers
    The Homesman lacks the scope and depth of Jones' dynamite 2005 directorial debut, "The Three Burials of Melquiades Estrada." But Jones and Swank, walking the tightrope between comic and tragic, ignite combustibly.
    • 64 Metascore
    • 75 Peter Travers
    Delivers the dazzle without sacrificing the smarts. The suspense is killer. Ditto the thrill of the hunt. The film uses the extra time to, of all things, develop characters and give this dystopian fable a human scale.
    • 86 Metascore
    • 75 Peter Travers
    Kent will have you climbing the walls simply by plumbing the violence of the mind. Brace yourself.
    • 76 Metascore
    • 75 Peter Travers
    Under the keen-eyed direction of Jean-Marc Vallée (Dallas Buyers Club), Wild emerges as an exciting, elemental adventure that takes you places you don't see coming.
    • 81 Metascore
    • 75 Peter Travers
    Inherent Vice is packed with shitfaced hilarity, soulful reveries, stylistic ingenuity and smashing performances that keep playing back in your head. It may not demand repeat viewings, but it sure as hell rewards them. It's the work of a major talent.
    • 52 Metascore
    • 75 Peter Travers
    It's stupid. It's in bad taste. It impossible. I know all that. Look, Quentin Tarantino killed Hitler in "Inglourious Basterds" and the neo-Nazis stayed quiet. It's a farce, people.
    • 69 Metascore
    • 75 Peter Travers
    To try and wrap your head around the plot of Predestination can only lead to madness. Don't get me wrong: The movie itself is a trip. Just jump off the cliff and go with the Spierig brothers, Peter and Michael, as they whoosh into the labyrinth of their own fervid imaginations.
    • 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
    Moore shows us acting at its best, alive with ferocity and feeling and committed to truth.
    • 59 Metascore
    • 75 Peter Travers
    The Humbling is a dark dazzler shot through with mirth and delicious malice. But be warned. It is not Roth's novel.
    • 58 Metascore
    • 75 Peter Travers
    Kingsman is all over the place, sometimes to its detriment. But you won’t want to miss the surprises it delights in springing.
    • 75 Metascore
    • 75 Peter Travers
    Here's a vampire movie for people who don’t like vampire movies. What We Do in the Shadows is packed with laughs, almost all of them are intentional.
    • 83 Metascore
    • 75 Peter Travers
    '71
    Demange's film, spiked by an outstanding, all-stops-out O'Connell, makes politics unnervingly personal. Too much? What else do you expect of a cinematic knockout punch that sends you reeling?
    • 77 Metascore
    • 75 Peter Travers
    As the cases mount and institutional reps succeed best by playing dumb, The Hunting Ground becomes a energizing call to action, a potent provocation that’s been too long coming.
    • 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.
    • 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.
    • 58 Metascore
    • 75 Peter Travers
    Pacino is irresistible. Whether strutting onstage or wrestling with his drug-fueled demons, he doesn't skimp on Danny's human limits. With nine Lennon tunes on the soundtrack and a new song for Danny to express his creative reinvention, this hilarious and heartfelt movie is an exuberant gift.
    • 76 Metascore
    • 75 Peter Travers
    Comedy really is hard. So it's a kick when a filmmaker gets it right, as Noah Baumbach does in this stingingly funny take on aging.
    • 78 Metascore
    • 75 Peter Travers
    Isaac's brilliant take on this bearded, buzz-cut and barefoot Dr. Frankenstein is a tour de force of shock and awe. Ex Machina springs surprises that will haunt you for a good long time.
    • 59 Metascore
    • 75 Peter Travers
    What kind of a movie takes place entirely on one screwed-up teen's computer screen? That would be Unfriended, a creep-you-out experiment in terror that damn near pulls off every trick up its cyber sleeve.
    • 50 Metascore
    • 75 Peter Travers
    In The Water Diviner, Crowe strives to strike a universal chord about the futility of war. Simplistic? Maybe. But in crafting a film about the pain a parent feels after losing a child in battle, Crowe transcends borders and politics. It's not war being honored here, it's sacrifice and inconsolable loss. I'd call that a substantial achievement.
    • 71 Metascore
    • 75 Peter Travers
    Vinterberg may rush the final act, but he gets pitch-perfect performances from Schoenaerts, Sheen and Sturridge and brings out the wild side in Mulligan, who can hold a close-up like nobody's business. She's a live wire in a movie that knows how to stir up a classic for the here and now.
    • 55 Metascore
    • 75 Peter Travers
    Screenwriters Jarrad Paul and Andrew Mogel, in an auspicious directing debut, are attempting to tackle emotional areas that can't be glibly resolved. Sure, they trip up a few times. But it's exhilarating watching them aim high.
    • 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.
    • 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.
    • 77 Metascore
    • 75 Peter Travers
    Harington and Vikander provide the spark the film needs to get us through the tribulations and tragedies that pile on with numbing regularity. You leave Testament of Youth feeling some of the impact that Brittain’s book must have had at the time.
    • 59 Metascore
    • 75 Peter Travers
    This state-of-the-art dino epic is also more than a blast of rumbling, roaring, "did you effing see that!" fun. It's got a wicked streak of subversive attitude that goes by the name of Colin Trevorrow.
    • 75 Metascore
    • 75 Peter Travers
    The Wolfpack is frustrating in how much it doesn't tell us about the Angulos and the legal tangle that comes with their release. But once you've met these kids, you won't forget them — or the film that puts a hypnotic and haunting spin on movie love.
    • 72 Metascore
    • 75 Peter Travers
    Just know that Famuyiwa keeps the action spinning with vibrant speed and rare sensitivity. He's made a comedy of social expectation that plays like an exhilarating gift.
    • 65 Metascore
    • 75 Peter Travers
    Brice, who made an impressive thriller debut with 2014's "Creep," has a knack for getting the most out of four people talking.
    • 38 Metascore
    • 75 Peter Travers
    Terminator Genisys fires on all action cylinders when director Alan Taylor (Thor: The Dark World) follows the model James Cameron set in the first two films, still the glory of the series.
    • 64 Metascore
    • 75 Peter Travers
    The latest film franchise culled from Marvel's comic-book universe packs a ton of fun into a teeny package. Its low-key charm helps glide us over trouble spots in tone and pacing.
    • 53 Metascore
    • 75 Peter Travers
    Allen has crafted a suspenseful mind-teaser that might feel too much like an intellectual exercise if Phoenix and Stone didn't infuse it with raw humanity. The conceptual bubble Allen creates in Irrational Man is potent provocation built to keep you up nights.
    • 67 Metascore
    • 75 Peter Travers
    Don't think you can take another Hollywood version of Sherlock Holmes? Snap out of it. Apologies to Robert Downey Jr. and Benedict Cumberbatch, but what Ian McKellen does with Arthur Conan Doyle's fictional detective in Mr. Holmes is nothing short of magnificent.
    • 57 Metascore
    • 75 Peter Travers
    There may be nothing fresh left to find in teens coming of age, but director Jake Schreier (Robot and Frank) fakes it with genuine sincerity.
    • 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.
    • 44 Metascore
    • 70 Peter Travers
    A lighter-than-air comedy than runs on pure fizz.
    • Rolling Stone
    • 52 Metascore
    • 70 Peter Travers
    Who needs iambic pentameter when you have Jet Li around?
    • 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.
    • 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.
    • 62 Metascore
    • 70 Peter Travers
    Draws an electric performance from Peter Mullan.
    • 51 Metascore
    • 70 Peter Travers
    Keep your eye on Kidman, whose kinky, kittenish performance turns unexpected emotional corners that pull you up short.
    • 30 Metascore
    • 70 Peter Travers
    What The Replacements does have is energy.
    • Rolling Stone
    • 62 Metascore
    • 70 Peter Travers
    Blethyn's solid-gold charm turns Saving Grace into a comic high.
    • Rolling Stone
    • 69 Metascore
    • 70 Peter Travers
    Eyes sees what it wants to see, but it's a riveting glimpse.
    • 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
    • 53 Metascore
    • 70 Peter Travers
    Irresistibly silly.
    • Rolling Stone
    • 62 Metascore
    • 70 Peter Travers
    Smash acting debut of Combs, who brings ease and charm to a crime lord.
    • 54 Metascore
    • 70 Peter Travers
    Nothing new here except model-turned-actress Bellucci. To call her noteworthy would be an understatement.
    • 61 Metascore
    • 70 Peter Travers
    Charmer of a comedy.
    • Rolling Stone
    • 62 Metascore
    • 70 Peter Travers
    Baldwin is a marvel in a casting surprise that pays off.
    • Rolling Stone
    • 66 Metascore
    • 70 Peter Travers
    The show belongs to Geoffrey Rush in a note-perfect performance as Harry Pendel, the tailor.
    • 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
    • 45 Metascore
    • 70 Peter Travers
    Friedkin turns on the juice and Jones and Jackson let it rip.
    • Rolling Stone
    • 75 Metascore
    • 70 Peter Travers
    The film belongs to Blanchett -- this hellcat Virgin Queen is something to see.
    • 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
    • 73 Metascore
    • 70 Peter Travers
    The plot is too implausible to rank with "Unforgiven," but, oh, what a fun ride.
    • Rolling Stone
    • 43 Metascore
    • 70 Peter Travers
    Hackman and Freeman will pin you to your seat.
    • Rolling Stone
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 70 Peter Travers
    The dark fantasist in Lucas makes a comeback after years of once-over-lightly.
    • 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.
    • 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
    • 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.
    • 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.
    • 56 Metascore
    • 70 Peter Travers
    They turn what could have been an acting stunt into an intimate and compelling study of bruised emotions.
    • 66 Metascore
    • 70 Peter Travers
    The grand becomes grandiose and the lyrical turns bombastic.
    • 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
    • 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.
    • 45 Metascore
    • 70 Peter Travers
    Crowe's tantalizing film sticks with you.
    • 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?
    • 54 Metascore
    • 70 Peter Travers
    It's a dumb summer movie done with smarts.
    • 46 Metascore
    • 70 Peter Travers
    Karmel delivers feminist fun even a guy can get.
    • Rolling Stone
    • 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
    • 69 Metascore
    • 70 Peter Travers
    The funny and touching result is worth cheering for.
    • 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.
    • 53 Metascore
    • 63 Peter Travers
    The Siege is not a documentary but a glossy Hollywood entertainment that is prey to all the exaggerations, simplifications and acting histrionics that come with the genre.
    • 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.
    • 41 Metascore
    • 63 Peter Travers
    But the bad boys achieve something a budget can't buy: an easy, natural rapport that makes you root for them. For comedy and thrills, Lawrence and Smith are a dream team.
    • 48 Metascore
    • 63 Peter Travers
    Spacey's deft directing can't offset a script that wants to be Chinatown and ends up as indigestible chop suey.
    • 41 Metascore
    • 63 Peter Travers
    Offers dumb fun without apology.
    • 55 Metascore
    • 63 Peter Travers
    Seven Years in Tibet, however flawed, has feeling and purpose. It bears witness.
    • 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.
    • 50 Metascore
    • 63 Peter Travers
    The Saint leaves star Val Kilmer and director Phillip Noyce (Patriot Games) fighting to enliven an exhausted character.
    • 50 Metascore
    • 63 Peter Travers
    The choice for the uninitiated is simple: Take the ride for its fitful thrills and dark elements, or just say the hell with it.
    • 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.
    • 58 Metascore
    • 63 Peter Travers
    Li is action poetry in motion. Damn them for spoiling our popcorn fun with salty tear-jerking.
    • 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.
    • 57 Metascore
    • 63 Peter Travers
    The film rambles, but rambling with the mischievous Roos is still a tricky and winning proposition.
    • 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.
    • 49 Metascore
    • 63 Peter Travers
    What holds us are the actors, including Terrence Howard as a cop who grew up with the brothers.
    • 62 Metascore
    • 63 Peter Travers
    Niccol is too good a screenwriter (The Truman Show, Gattaca) not to know that Hollywood cliches are hell on a film's political bite. They muzzle it.
    • 36 Metascore
    • 63 Peter Travers
    The movie is full of possibilities. Frustratingly, only a few of them are realized.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 63 Peter Travers
    Howard struggles with the role Kidman nailed. And the graphic nude scene in which "proudy slave" Timothy (Isaach De Bankole) puts a towel over Grace's head before ravishing her pale body is as rugged on the audience as it is on the actors.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 63 Peter Travers
    Inspired by a true story (translation: a lot of it is made up), the movie shucks its corn straight from the cob. But it's no less engaging for that, thanks to the enthusiasm of the young cast and the fusion of classic dance with hip-hop moves courtesy of Rich and Tone Talauega.
    • 57 Metascore
    • 63 Peter Travers
    Don't worry. It just sounds like another bad Sharon Stone movie. Kinky Boots trips on its contrived plot, but this blend of trash and sass is a comfy fit.
    • 45 Metascore
    • 63 Peter Travers
    Vaughn and Favreau are so money, just like they were in "Swingers."
    • 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.
    • 65 Metascore
    • 63 Peter Travers
    Best of all, Jason Mewes is out of rehab to play Jay and spar with Smith as Silent Bob, his dope-dealing partner.
    • 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.
    • 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.
    • 68 Metascore
    • 63 Peter Travers
    The film's most pleasing surprise is the beautifully nuanced portrait of Capote's confidante, "To Kill a Mockingbird" author Harper Lee, by Sandra Bullock. You heard me. Bullock gives the film what it otherwise lacks: the ring of truth.
    • 52 Metascore
    • 63 Peter Travers
    Too much manic energy runs the movie off the rails.
    • 63 Metascore
    • 63 Peter Travers
    Goldthwait's movie, shot on video that makes it look dragged through puppy poop, is an unholy mess. But it also possesses a quick wit and an endearing tenderness toward Amy as honesty wrecks her life. It's sweet, doggone it.
    • 47 Metascore
    • 63 Peter Travers
    The scenery is glorious; you can almost feel the sunshine and smell the wine. But Crowe and Scott are bulls in Mayle's china shop. Like an assertive Burgundy served with a delicate fish, they're a classic wrong pairing.
    • 51 Metascore
    • 63 Peter Travers
    In telling a tale of love across time, Aronofsky is sometimes guilty of creating arty, pretentious psychobabble. But in visual terms, he's trying to expose his own raw, romantic heart. Folly? Maybe. But a risk worth taking.
    • 56 Metascore
    • 63 Peter Travers
    The actors, especially Binoche, do their damnedest to bring urgency to their roles. But despite Minghella's admirable attempt to tackle major themes on an intimate scale, the film goes down like weak tea. There's no kick in it.
    • 61 Metascore
    • 63 Peter Travers
    Shepherd wants to say something profound about the effect of a deceitful government on human values. But it's tough to slog through a movie that has no pulse.
    • 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!
    • 64 Metascore
    • 63 Peter Travers
    Leave it to Hilary Swank. Even when her film's pace lags behind its cliches, she sparks this true story, about a California teacher who sparks her students, with the passion the subject demands.
    • 53 Metascore
    • 63 Peter Travers
    Suspended over a deep gully of disbelief, where logic takes more bullets than the bad guys, Shooter still makes the grade as hard-ass action escapism.
    • 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.
    • 54 Metascore
    • 63 Peter Travers
    To call the animation crude would be high praise. But they succeed enough of the time to make a perversely entertaining movie.
    • 58 Metascore
    • 63 Peter Travers
    Don't look for the originality and grit that distinguished Weir's Australian films Picnic at Hanging Rock and Gallipoli, Green Card has all the heft of a potato chip. But Depardieu's charm recognizes no language barriers, and MacDowell, the revelation of sex, lies, and videotape, proves a fine, sexy foil.
    • 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.
    • 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.
    • 82 Metascore
    • 63 Peter Travers
    Drugstore Cowboy improves. Not much, but in provocative ways.
    • 49 Metascore
    • 63 Peter Travers
    Even at its hokiest, Far and Away is never less than heartfelt.
    • 72 Metascore
    • 63 Peter Travers
    JFK
    The movie is often tremendously exciting.
    • 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.
    • 69 Metascore
    • 63 Peter Travers
    Gets the action job done and you better believe that Bruce is still the man.
    • 45 Metascore
    • 63 Peter Travers
    Susan Minot’s resplendent novel of a dying woman…stumbles on its way to the screen.
    • 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.
    • 56 Metascore
    • 63 Peter Travers
    To call it trippy would be an understatement. Your head might explode. Just don't accuse Taymor of playing it safe.
    • 56 Metascore
    • 63 Peter Travers
    Foster is electrifying as ego and id clash and the movie fires up with genuine provocation.
    • 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.
    • 63 Metascore
    • 63 Peter Travers
    The tricky thing about parody movies is that the jokes get old fast and they're hit-and-miss. Walk Hard, a spoof of every musical biopic from "Ray" to "Walk the Line," is guilty on both counts. How lucky that when the jokes do hit, they kick major ass.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 63 Peter Travers
    Critics will score Semi-Pro on its missed shots. My guess is that audiences will do what they always do with Ferrell: remember when he killed them laughing.
    • 48 Metascore
    • 63 Peter Travers
    Run, Fat Boy, Run stays out of sitcom quicksand long enough to make you think that Schwimmer has a knack for this comedy-directing thing.
    • 62 Metascore
    • 63 Peter Travers
    Junkies for dark humor should prep for going cold turkey, despite the efforts of director Andrew Adamson to spice things up with combat and a rivalry between Caspian and Peter (good on Moseley for showing some backbone) that Lewis never imagined.
    • 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.
    • 53 Metascore
    • 63 Peter Travers
    Writer-director Michael Patrick King, the creative force behind the show's later seasons, can't disguise the fact that the movie is basically five TV episodes strung together (only three hit the mark). But his script is more honest about aging than anything in "Indy 4."
    • 61 Metascore
    • 63 Peter Travers
    The final confrontation between the Hulk and Blonsky, now the roaring Abomination, is like the clash of Downey and Bridges in "Iron Man," only not as exciting.
    • 54 Metascore
    • 63 Peter Travers
    Director Peter Segal ups the ante on the action, aiming for Bourne more than Bond, but the stunts grow frenzied and increasingly flat.
    • 57 Metascore
    • 63 Peter Travers
    I don't know if 3-D could improve all movies (nothing could make "The Love Guru" funny) but it sure works here.
    • 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.
    • 58 Metascore
    • 63 Peter Travers
    It delivers the popcorn goods, but it ignores the poison eating at Bond's insides. Killer mistake.
    • 56 Metascore
    • 63 Peter Travers
    Stumbles and sometimes falls on its top-heavy ambitions. But there are also flashes of visual brilliance and performances, especially from Haley and Crudup, that drill deep into the novel's haunted soul.
    • 49 Metascore
    • 63 Peter Travers
    Bale even cedes the juiciest part to Aussie newcomer Sam Worthington, who is star material as a machine with a conscience. T4 is a mixed bag, but it's not f***ing amateur.
    • 56 Metascore
    • 63 Peter Travers
    W.
    Whatever you think of Dubya, he has balls. The movie doesn't.
    • 58 Metascore
    • 63 Peter Travers
    For all the film's flaws, this is a war story told with passion about a band of brothers that still has the power to inspire.
    • 57 Metascore
    • 63 Peter Travers
    The heart of the movie is really in Jasira's moments with her father, a mass of contradictions that Macdissi plays with comic ferocity and genuine feeling.
    • 56 Metascore
    • 63 Peter Travers
    Bummer. The vampires have no fangs. The humans are humdrum. The special effects and makeup define cheeseball. And the movie crowds in so many characters from Stephenie Meyer’s book that Catherine Hardwicke (Thirteen) is less a director than a traffic cop. But there’s a reason that Twilight has already become the movie equivalent of a bestseller: The love story has teeth.
    • 53 Metascore
    • 63 Peter Travers
    RocknRolla is a kickass crime drama that just doesn't know to quit while it's ahead.
    • 67 Metascore
    • 63 Peter Travers
    Philip Seymour Hoffman creates a mesmerizing portrait of the artist as a young, old and middle-aged man.
    • 49 Metascore
    • 63 Peter Travers
    Soul Men is a chance to salute these masters of mirth and music. Take it.
    • 38 Metascore
    • 63 Peter Travers
    Kramer takes on a hot, unwieldy topic in Crossing Over -- the dream that immigrants have of U.S. citizenship and the nightmare of achieving it, especially with shortcuts. I'm sure Kramer will be picked to pieces for trying something while Hollywood crap climbs the box office ladder. There are all kinds of nightmares.
    • 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.
    • 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.
    • 52 Metascore
    • 63 Peter Travers
    A decent thriller that should have been dazzling, is nothing if not topical.
    • 69 Metascore
    • 63 Peter Travers
    Given the assault of devilishly clever plot twists that buzz-bomb your brain like a two-hour binge of quad-shot lattes, Duplicity goes down as too smart for its own good.
    • 48 Metascore
    • 63 Peter Travers
    The movie can be enjoyed for the hell-raising hooey it is.
    • 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.
    • 56 Metascore
    • 63 Peter Travers
    "WALL-E" had more charm, more soul, more everything. But there's enough merry mischief here to satisfy, even if you’re way past puberty.
    • 76 Metascore
    • 63 Peter Travers
    Adventureland throws a lot at us, but not enough of it sticks.
    • 55 Metascore
    • 63 Peter Travers
    The film's major sin of omission: the music.
    • 60 Metascore
    • 63 Peter Travers
    9
    I only wish this richly imaginative movie had stayed truer to the dark heart of its visuals.
    • 61 Metascore
    • 63 Peter Travers
    If you tamp down your expectations -- those gaping plot holes are dangerous! -- there is a storm of scary fun to be had in this Scandinavian splatterfest.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 63 Peter Travers
    For its first stingingly funny half hour, The Invention of Lying had me thinking that Ricky Gervais had finally found a way to bring his indisputable brilliance at TV comedy (The Office, Extras) to the big screen. Then the air went out of the balloon. What a shame.
    • 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.
    • 53 Metascore
    • 63 Peter Travers
    The Book of Eli isn't as exciting or funny or inspiring as it wants and needs to be, and its preachy ending is an ordeal. But Washington, a movie star who can act, is one cool dude who is worth following anywhere.
    • 68 Metascore
    • 63 Peter Travers
    At moments, especially in the conflicted intimacy between Marcia Gay Harden and Daniel Stern as Bliss' parents, Barrymore shows real directing chops. But in Whip It she's painting inside the box.
    • 57 Metascore
    • 63 Peter Travers
    You don't have to feel guilty for lapping up this froth. Just don't expect nourishment.
    • 58 Metascore
    • 63 Peter Travers
    The boat nearly sinks from character overload, and Curtis brakes when you most want him to gun it. But there’s no denying the comic energy of the cast.
    • 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.
    • 55 Metascore
    • 63 Peter Travers
    Gibson's acting has deepened. Too bad his comeback vehicle springs so many leaks.
    • 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.
    • 63 Metascore
    • 63 Peter Travers
    It's a bitch telling a coming-of-age story minus clichés and sappiness. So Youth in Revolt, with Michael Cera in his best performance yet, is a small miracle.
    • 46 Metascore
    • 63 Peter Travers
    A rowdy blast because the spiky young cast treats the played-out script like virgin territory. That's acting!
    • 65 Metascore
    • 63 Peter Travers
    Say what you will about the Runaways – they never played it safe. The movie does.
    • 63 Metascore
    • 63 Peter Travers
    Hot Tub Time Machine should have been better than this. It could have been poignant.
    • 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.
    • 56 Metascore
    • 63 Peter Travers
    Stay for the outtakes – they’re improv delights, suggesting the movie that might have been if they had just left it all to Carell and Fey.
    • 44 Metascore
    • 63 Peter Travers
    As an action fix to hold you before the summer explosions start, you could do worse than The Losers. It’s no more than an efficient time-killer.
    • 50 Metascore
    • 63 Peter Travers
    What's missing in Prince of Persia is a sense that all the running, jumping, climbing and fighting is leading to something. The best video games challenge you to reach the next level. Prince of Persia is content to skim the surface.
    • 58 Metascore
    • 63 Peter Travers
    It's a fun ride. What's missing is the excitement of a new interpretation.
    • 47 Metascore
    • 63 Peter Travers
    It's big, loud, ludicrous and edited into visual incomprehension. But pity the fool who lets that stand in the way of enjoying The A-Team.
    • 37 Metascore
    • 63 Peter Travers
    "GoodFellas" Oscar winner Pesci, who hasn't appeared onscreen in a major role since 1998's "Lethal Weapon 4," is a dynamo of conflicting emotions. And Mirren, bawdy in ways that erase all memory of her award-winning role as Elizabeth II in "The Queen," is magnificent.

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