Peter Travers

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For 2,769 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 3.3 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Joe Versus the Volcano
Score distribution:
2769 movie reviews
    • 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.
    • 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.
    • 66 Metascore
    • 63 Peter Travers
    Kendrick is terrific, taking a role that could have slid by on snide and building it into something uniquely funny and touching.
    • 38 Metascore
    • 63 Peter Travers
    I'm OK with Entourage onscreen because it's really a victory lap for a cast that once earned our DVR-ready affection. To echo Perry Farrell: "Yeah! Oh, yeah!" As for the haters? Hug it out, bitches.
    • 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.
    • 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.
    • 56 Metascore
    • 63 Peter Travers
    Luckily, Non-Stop has a way-above-average cast for this kind of nonsense.
    • 61 Metascore
    • 63 Peter Travers
    It’s kickass trash that never pretends to be more. Bonus points for that.
    • 49 Metascore
    • 63 Peter Travers
    The laughs that do achieve liftoff are killer. But the real kick is seeing the old gang back and ready to party.
    • 65 Metascore
    • 63 Peter Travers
    The lack of`cheeseball overload is refreshing. I could tell the good lie and say the movie is perfect. It's not. It's often earnest to a fault and fearful of its deeper, darker implications. Still, you won't leave The Good Lie unmoved. Its heart really is in the right place.
    • 58 Metascore
    • 63 Peter Travers
    It delivers the popcorn goods, but it ignores the poison eating at Bond's insides. Killer mistake.
    • 66 Metascore
    • 63 Peter Travers
    Premium Rush features fearless stunt work that shames most computer trickery. Too bad I didn't believe a minute of it.
    • 52 Metascore
    • 63 Peter Travers
    A decent thriller that should have been dazzling, is nothing if not topical.
    • 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.
    • 56 Metascore
    • 63 Peter Travers
    Joy
    The 25-year-old supernova (Lawrence) again proves she can do anything, moving from comic to tragic without missing a beat.
    • 65 Metascore
    • 63 Peter Travers
    Is there anything less shocking than a movie that thinks it's shocking? See White Girl and discuss — and you should see it, if only for the all-stops-out performance of Morgan Saylor.
    • 52 Metascore
    • 63 Peter Travers
    Too much manic energy runs the movie off the rails.
    • 46 Metascore
    • 63 Peter Travers
    A rowdy blast because the spiky young cast treats the played-out script like virgin territory. That's acting!
    • 49 Metascore
    • 63 Peter Travers
    What holds us are the actors, including Terrence Howard as a cop who grew up with the brothers.
    • 69 Metascore
    • 63 Peter Travers
    Gets the action job done and you better believe that Bruce is still the man.
    • 55 Metascore
    • 63 Peter Travers
    The film goes slack when its screws most need to tighten. Luckily, Smith — flawless in accent and commitment to Omalu's worthy cause — grips you from first to last.
    • 58 Metascore
    • 63 Peter Travers
    What saves the day is the spidery, schizoid Gollum, again performed by the great Andy Serkis through the craft of motion capture.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 63 Peter Travers
    Rango is like nothing you've ever seen.
    • 62 Metascore
    • 63 Peter Travers
    The Woman in Black doesn't break new ground, but in its suggestions of fine film ghost stories, from "The Innocents" to "The Others" and "The Orphanage," it works you over with riveting restraint.
    • 52 Metascore
    • 63 Peter Travers
    This is a breakthrough star performance from a terrific actor getting a chance to let it rip.
    • 60 Metascore
    • 63 Peter Travers
    Flaws aside, Kill the Messenger inspires a moral outrage that feels disconcertingly timely.
    • 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.
    • 60 Metascore
    • 63 Peter Travers
    Luckily, Trumbo has a powerhouse Bryan Cranston to light a fire under the moldier clichés in John McNamara's script.
    • 63 Metascore
    • 63 Peter Travers
    Even when the film fails her, Field never loses her focus.
    • 44 Metascore
    • 63 Peter Travers
    It's a heavy thematic load for a single movie to handle — especially this one, which nearly collapses from its burden. But it's hard to fault director David Yates, who captained the last four Harry Potter movies, for having ambition.
    • 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.
    • 59 Metascore
    • 63 Peter Travers
    The film swings from melodrama to sermonizing, both blunting the human drama that needs to come to the fore.
    • 62 Metascore
    • 63 Peter Travers
    Hart is a comic fireball. Don't leave till after the final credits when he and Hall bust a few more hilarious improv moves.
    • 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.
    • 63 Metascore
    • 63 Peter Travers
    Director Tom McGrath keeps the action spinning and trips lightly over the bummer spectacle of watching a bad boy go good.
    • 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.
    • 51 Metascore
    • 63 Peter Travers
    It also doesn't grapple deeply enough with the core questions it raises, settling for telling a sob story that will go down easy at the box office. Still, you can't blame audiences too much for being seduced by two shining young stars in a movie romance that hits the spot, bitter and sweet.
    • 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.
    • 39 Metascore
    • 63 Peter Travers
    The Green Hornet doesn't suck. But don't expect it to hang together either, what with the clashing tones and melting logic.
    • 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.
    • 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.
    • 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."
    • 41 Metascore
    • 63 Peter Travers
    Some actors don't need top-shelf material. Just the pleasure of their company is enough. And so Al Pacino, Christopher Walken and Alan Arkin turn the insubstantial Stand Up Guys into solid entertainment.
    • 52 Metascore
    • 63 Peter Travers
    Luckily, Ferrell is at his funniest being serious. Casa de Mi Padre, shot in 24 days for $6 million, is really an SNL-ish sketch stretched to feature length. But Ferrell is an hombre loco. Mi gusta.
    • 67 Metascore
    • 63 Peter Travers
    Rosamund Pike is perfection as Barney's true love, and Dustin Hoffman makes magic as Barney's randy dad. It's acting heaven.
    • 57 Metascore
    • 63 Peter Travers
    The film feels overstuffed and way too familiar, with Burton repeating tricks from his greatest hits (think Beetlejuice and Edward Scissorhands). And the fun runs out much before the film ends. But stick with it just for those times when Burton flies high on his own peculiar genius.
    • 47 Metascore
    • 63 Peter Travers
    Wasikowska, from "Alice in Wonderland" to "Jane Eyre," is an actress of translucent expressiveness. And Hopper has his father's brooding intensity and a quicksilver humor all his own. They are both so good, I suggest you dive into the story unfolding in their eyes rather than the banal one in the script.
    • 49 Metascore
    • 63 Peter Travers
    As a movie, Gold is slim pickings. But McConaughey keeps you riveted.
    • 60 Metascore
    • 63 Peter Travers
    McCarthy is a force of comic nature. And she and Bullock mix it up like pros. In this dead-battery of a movie, these live-wires miraculously ignite sparks.
    • 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
    "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.
    • 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.
    • 36 Metascore
    • 63 Peter Travers
    By showing signs of intelligent life in a universe of diseased, digital drivel, Assassin's Creed stands above the herd of movies based on video games by default.
    • 63 Metascore
    • 63 Peter Travers
    As Alien, a gun-crazy Florida drug dealer with tats, beaded cornrows and a grill any rapper would envy, Franco is a bug-f--k blast. Too bad the movie itself is rarely as outrageous as he is.
    • 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.
    • 51 Metascore
    • 63 Peter Travers
    It's not much of a movie. But raging bull Robert De Niro, suited up to play for humor and heart, proves he can be a world-class charmer.
    • 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.
    • 51 Metascore
    • 63 Peter Travers
    It's a bummer that the jokes don't land often enough, especially in the final third when the tone takes a turn for the tame. WTF!?!
    • 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.
    • 76 Metascore
    • 63 Peter Travers
    Before it goes off the rails in the final stretch, 99 Homes is a riveting rabble-rouser that thinks it can make a difference. In these days when Hollywood typically dulls our wits, Ramin Bahrani's 99 Homes has a fire in its belly. It's spoiling to be heard.
    • 66 Metascore
    • 63 Peter Travers
    Sadly, Furman keeps shoving the movie into the box of clichés he thinks the audience wants. We don't, and you can tell that Cranston doesn't want it either.
    • 67 Metascore
    • 63 Peter Travers
    Philip Seymour Hoffman creates a mesmerizing portrait of the artist as a young, old and middle-aged man.
    • 38 Metascore
    • 63 Peter Travers
    It's a shallow, melodramatic device that would sink most actors. But Lewis is not most actors. In fact, despite age and illness, he remains a mesmerizing star in front of the camera, compelling to watch even (and especially) when sitting perfectly still.
    • 55 Metascore
    • 63 Peter Travers
    For all the spectacular settings and visionary designs, Cloud Atlas left me feeling disconnected. Sad. But that's the true true.
    • 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.
    • 66 Metascore
    • 63 Peter Travers
    Webb never loses touch with the film's emotional through line. And he allows time and space for Garfield and Stone, both stellar, to turn a high-flying adventure into something impassioned and moving. A Spider-Man that touches the heart. Now that really is amazing.
    • 59 Metascore
    • 63 Peter Travers
    Sing doesn't have the grit or the grace notes of Zootopia, which it resembles only in its concept of an animal kingdom.
    • 55 Metascore
    • 63 Peter Travers
    Radnor and Olsen are so funny and touching you want to say happythankyoumoreplease. What you get is frustratingly less. Still, to the movie's refreshingly uncynical credit, you feel for them.
    • 72 Metascore
    • 63 Peter Travers
    JFK
    The movie is often tremendously exciting.
    • 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.
    • 55 Metascore
    • 63 Peter Travers
    Seven Years in Tibet, however flawed, has feeling and purpose. It bears witness.
    • 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.
    • 51 Metascore
    • 63 Peter Travers
    Recipe for nutso fun: Mix Zach Galifianakis with Robert Downey Jr. Apply the same mold John Hughes used for "Planes, Trains and Automobiles." Have Todd Phillips stir with wack-ass abandon. Don't worry about missing ingredients, like plot. Serve to an audience ready to lap it up.
    • 64 Metascore
    • 63 Peter Travers
    There are times when this mindbending bromance actually achieves a twisted tenderness. There are also times when you'd like to ride Manny's farts to the nearest exit. It's your call.
    • 53 Metascore
    • 63 Peter Travers
    When the script sags, Wain and producer Judd Apatow rely on a top team of actors to keep you laughing.
    • 50 Metascore
    • 63 Peter Travers
    Prom has its modest delights, chiefly its young cast.
    • 55 Metascore
    • 63 Peter Travers
    Helgeland's script is hit-and-miss, not on the Oscar-winning level of his L.A. Confidential. Still, Hardy is a show all by himself, an actor flying without a net and having a ball. You will too.
    • 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.
    • 53 Metascore
    • 63 Peter Travers
    RocknRolla is a kickass crime drama that just doesn't know to quit while it's ahead.
    • 60 Metascore
    • 63 Peter Travers
    Thanks to the fleet direction of Niki Caro and no-bull performances by the boys, notably Carlos Pratts as the team's best runner and Ramiro Rodriguez as the worst. Along the way, McFarland, USA gives us a vital sense of hardscrabble lives and dreams of glory deferred. All cheers here are fully earned.
    • 47 Metascore
    • 63 Peter Travers
    This movie, with its flashbacks to past sins and traumas, rests squarely on Berry, a mesmerizer who makes every moment count.
    • 66 Metascore
    • 63 Peter Travers
    Fast Five will push all your action buttons, and some you haven't thought of. So what if you hate yourself in the morning.
    • 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.
    • 49 Metascore
    • 63 Peter Travers
    Soul Men is a chance to salute these masters of mirth and music. Take it.
    • 51 Metascore
    • 63 Peter Travers
    Dench and Nighy are class personified. The secret here is merely to luxuriate in the pleasure of their company.
    • 56 Metascore
    • 63 Peter Travers
    W.
    Whatever you think of Dubya, he has balls. The movie doesn't.
    • 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.
    • 58 Metascore
    • 63 Peter Travers
    On the waves, The Finest Hours finally finds its sea legs and delivers an old-school adventure based on a heroic deliverance that deserves its day in the sun.
    • 69 Metascore
    • 60 Peter Travers
    But this is Washington's show, his Scarface, if you will, and his smiling, seductive monster is a thrilling creation that gives Training Day all the bite it needs.
    • 59 Metascore
    • 60 Peter Travers
    Witherspoon -- though miles from the keen satire of "Election" -- stays one sharp cookie even as her film crumbles.
    • 57 Metascore
    • 60 Peter Travers
    Too crude for the kids and not crude enough for connoisseurs of the "Something About Mary" school of hair jism and balls caught in zippers, Osmosis Jones seems doomed to fall between the cracks.
    • 75 Metascore
    • 60 Peter Travers
    I could have done more with the edgy humor of "Diner" and "Tin Men" and less of the mythmaking of "Avalon."
    • Rolling Stone
    • 40 Metascore
    • 60 Peter Travers
    The script hits rough patches, especially when Phoebe and Wolf get it on, but the sisters cut to the heart.
    • 37 Metascore
    • 60 Peter Travers
    It bristles with the brute force he brought to 1986's underrated "52 Pick-Up."
    • Rolling Stone
    • 60 Metascore
    • 60 Peter Travers
    Toothless satire relatively inoffensive and relentlessly mediocre.
    • 47 Metascore
    • 60 Peter Travers
    Harmless girlie trifle. Or at least it means to be.
    • 59 Metascore
    • 60 Peter Travers
    An uneven blend of mirth and malice.
    • 62 Metascore
    • 60 Peter Travers
    Never adds up to anything more substantial than shrewd observations. There's no dramatic core.
    • Rolling Stone
    • 71 Metascore
    • 60 Peter Travers
    There are times when The Good Girl is so low-key it damn near flatlines. Luckily, White creates compelling characters with a few deft brush strokes. The actors fill in the rest.
    • 54 Metascore
    • 60 Peter Travers
    Stylish entertainment and smartass fun when director John Dahl ("The Last Seduction") plays his strong suit (a gifted cast) instead of his weakest (a derivative plot).
    • 41 Metascore
    • 60 Peter Travers
    Turitz keeps it comic and romantic in just the right doses. Looking for a fun date flick? You found it.
    • 34 Metascore
    • 60 Peter Travers
    Big, loud and lurid, but no less entertaining for that.
    • 69 Metascore
    • 60 Peter Travers
    What these guys do for revenge during one hellish day in the Big Apple makes the panic room look like Barney's toy box. The film itself goes off the deep end way before the end credits.
    • 59 Metascore
    • 60 Peter Travers
    Brought to the screen awkwardly but ardently by Mamet-actor supreme Joe Mantegna in his feature-directing debut.
    • 50 Metascore
    • 60 Peter Travers
    Director Brian Robbins ("Good Burger") and screenwriter W. Peter Iliff ("Prayer of the Rollerboys") have wrapped their moral fable in a glossy package of hard football action and towel-slapping, hard-body fun that might seem exciting if you've never seen a movie before.
    • 73 Metascore
    • 60 Peter Travers
    Veering on the maudlin, the film ultimately succeeds by striking a universal chord on the subject of inconsolable loss. It's a stirring, humane testament from a surprising source.
    • 67 Metascore
    • 60 Peter Travers
    Compared with ("The Sixth Sense"), there's no contest. Stir of Echoes has been outrun and outclassed.
    • Rolling Stone
    • 45 Metascore
    • 60 Peter Travers
    There's not that much that's new in screenwriter Marshall Karp's sitcom-ish memoir, but Alexander keeps the laughs coming.
    • Rolling Stone
    • 61 Metascore
    • 60 Peter Travers
    But just watch Hanks, with the effortless grace of a Jimmy Stewart, turn the loony into something sweetly logical. Now that is magic.
    • Rolling Stone
    • 47 Metascore
    • 60 Peter Travers
    This lively mess proves that when Toback loses his head, he does it with style.
    • Rolling Stone
    • 53 Metascore
    • 60 Peter Travers
    Carter can't sidestep the script's cliches, so he wisely cuts to the fancy footwork whenever possible.
    • 49 Metascore
    • 60 Peter Travers
    But the film exerts a hold. The crux is: for how long?
    • 58 Metascore
    • 60 Peter Travers
    You won't forget the way Carrey transcends mere impersonation to find the roots of Andy's torment.
    • Rolling Stone
    • 53 Metascore
    • 60 Peter Travers
    Yup, director Michael Lehmann, far from the glory days of "Heathers," has made a movie about a hard-on, in which he relentlessly pounds a flaccid premise.
    • 59 Metascore
    • 60 Peter Travers
    Until The Contender slips into partisan politics and platitudinous piety, it's a lively, entertaining ride.
    • Rolling Stone
    • 69 Metascore
    • 60 Peter Travers
    A meditation on the racial and class conflicts at the heart of the American character.
    • Rolling Stone
    • 56 Metascore
    • 60 Peter Travers
    The humor is slight, but the actors make the blarney go down easy.
    • 71 Metascore
    • 60 Peter Travers
    Modestly made and modestly charming.
    • Rolling Stone
    • 44 Metascore
    • 60 Peter Travers
    Director and co-writer James Mangold (Girl, Interrupted) is supplying comfort food for bruised romantics.
    • 58 Metascore
    • 60 Peter Travers
    What we're watching, however charming, is a fancifully costumed theater piece that cuts off the oxygen needed to make a play breathe onscreen.
    • 28 Metascore
    • 60 Peter Travers
    Thornton plays this low-ball farce with deceptive, masterful ease. Appreciate it.
    • 54 Metascore
    • 60 Peter Travers
    If "Mr. Holland's Opus" made you puke, you'd better bring a bucket to this true-life weepie about the importance of teaching music in schools.
    • Rolling Stone
    • 50 Metascore
    • 60 Peter Travers
    Shaft scores by lacing ba-da-boom action with social pertinence.
    • Rolling Stone
    • 53 Metascore
    • 50 Peter Travers
    Hunt's flat delivery is mercilessly cruel to Wilde's delicious epigrams. That sound you hear is Oscar spinning madly in his grave.
    • 37 Metascore
    • 50 Peter Travers
    Turns into a bogus drivel courtesy of a sitcom monster.
    • Rolling Stone
    • 64 Metascore
    • 50 Peter Travers
    Madden directed Paltrow in the play on the London stage, but he does his "Shakespeare in Love" goddess no favors by filling the screen with big close-ups that betray the theatrical origins of the piece and drain the movie of life and urgency. Proof hasn't been filmed at all -- it's been embalmed.
    • 46 Metascore
    • 50 Peter Travers
    Horns has style to burn, but there's no there there.
    • 64 Metascore
    • 50 Peter Travers
    Elf
    Ferrell makes the damn thing work. Even though he can't get naked or use naughty words, there's a devil of comedy in Ferrell, and he lets it out to play. Director Jon Favreau has the good sense to just stand out of his way.
    • 49 Metascore
    • 50 Peter Travers
    A cheerless exercise.
    • Rolling Stone
    • 65 Metascore
    • 50 Peter Travers
    It's all a blur, except for the music. That's workin'.
    • 60 Metascore
    • 50 Peter Travers
    Screenwriter Robert Towne has certainly not challenged his gifts -- the script is loaded with stock cars and stock characters -- but he does deliver what's necessary: a workable setup for exciting NASCAR racing footage shot on sixteen Winston Cup tracks from Daytona to Watkins Glen.
    • 55 Metascore
    • 50 Peter Travers
    Only Vince Vaughn registers hilariously as John's boss.
    • 59 Metascore
    • 50 Peter Travers
    I fully expect Paranormal Activity 3 to be box office gold. But it's barely worth two stars, let alone two cents. As for future followups, I offer this plea: STOP!
    • 67 Metascore
    • 50 Peter Travers
    Tepid.
    • 50 Metascore
    • 50 Peter Travers
    Say this for Emmerich, he's not stuffy. And he lucks out big-time with his cast.
    • 48 Metascore
    • 50 Peter Travers
    It's stale, like something you wrap in yesterday's newspaper.
    • 47 Metascore
    • 50 Peter Travers
    There's not enough here to sustain a half-hour sitcom, but Reese Witherspoon shoulders the burden with star shine to spare.
    • 31 Metascore
    • 50 Peter Travers
    A shock ending may be the best hope for this film, a convoluted mystery that thinks it's way smarter than it is.
    • 47 Metascore
    • 50 Peter Travers
    In not knowing who it needs to please, I Want to Believe pleases no one.
    • 31 Metascore
    • 50 Peter Travers
    If you're like me, diluted Smith is still better than no Smith at all.
    • 44 Metascore
    • 50 Peter Travers
    It's a one-joke premise that ultimately wears thin, but Krueger works some playful variations on a theme.
    • Rolling Stone
    • 41 Metascore
    • 50 Peter Travers
    In his screenwriting debut, Glee's gifted Chris Colfer, 22, proves he can lace a line with sass and soul. The downside of Struck by Lightning, besides the fact that Colfer's character, Carson Phillips, is struck dead in the first scene, is that Colfer hands himself all the best lines.
    • 55 Metascore
    • 50 Peter Travers
    When the script, by Zwick, Marshall Herskovitz and John Logan, doesn't sabotage the images, and the great cinematographer John Toll turns action into poetry, The Last Samurai emerges as a haunting silent movie.
    • 51 Metascore
    • 50 Peter Travers
    Aussie singer Natalie Imbruglia gets to play the babe, nothing more, but she does that brightly. The rest of the movie is a dim bulb.
    • 56 Metascore
    • 50 Peter Travers
    The too-blunt comedy defangs the film. As does the irritating voiceover from the Rolling Stone reporter, played Scoot McNary, which breaks a cardinal rule of filmmaking: show, don't tell.
    • 48 Metascore
    • 50 Peter Travers
    Oddly, the published screenplay – while far from McCarthy's top-drawer – reads better than it plays. What's onscreen recalls a line from No Country: "It's a mess, ain't it, Sheriff?"
    • 65 Metascore
    • 50 Peter Travers
    Hungarian director Istvan Szabo (Sunshine) overplays his hand and traps Bening in a role that's all emoting, no emotion.
    • 58 Metascore
    • 50 Peter Travers
    There's no denying the ambition in A Hologram for the King, but a struggle does not add up to a satisfying movie — or even a reasonable facsimile of the beauty and terror Eggers evokes on the page.
    • 42 Metascore
    • 50 Peter Travers
    Robert De Niro – wait for it – in the role of a mobster. Now there's an original idea.
    • 50 Metascore
    • 50 Peter Travers
    With the exception of a battle scene with apes on all fours charging the humans, the film is monumentally silly.
    • 47 Metascore
    • 50 Peter Travers
    Bad Teacher keeps running away from its combustibly nasty premise. Damn shame.
    • 68 Metascore
    • 50 Peter Travers
    Nolte brings a raspy authority to the role, and director Neil Jordan (The Crying Game) surrounds him with colorful characters.
    • 27 Metascore
    • 50 Peter Travers
    A long sit in the shallows, the equivalent of five half-hour episodes strung together.
    • 61 Metascore
    • 50 Peter Travers
    Short review of three little words: Way. Too. Long.
    • 58 Metascore
    • 50 Peter Travers
    Clooney and company work it too hard this time. You can tell they're huffing and puffing to stay afloat. But all I hear is: glug glug glug.
    • 34 Metascore
    • 50 Peter Travers
    The script by Linda Woolverton stays surface faithful to the characters created by Lewis Carroll, but the film has lost its soul.
    • 33 Metascore
    • 50 Peter Travers
    The only way to react is by bringing a barf bag or a strong sense of gallows humor.
    • 60 Metascore
    • 50 Peter Travers
    What a handsome empty shell of a movie Allied is.
    • 47 Metascore
    • 50 Peter Travers
    Escapism with a human touch -- it feels lived-in.
    • 58 Metascore
    • 50 Peter Travers
    It's tough to imagine a guy who won't squirm through this tale of 1950s housewife Evelyn Ryan.
    • 32 Metascore
    • 50 Peter Travers
    Reiner gets lucky with his two stars. Wilson has charm to spare, and Hudson brings humor and sexiness to playing Emma and four au pair girls from different countries. But even they can't float a balloon with lead in it.
    • 45 Metascore
    • 50 Peter Travers
    Marshall deserves props for putting the "show" back into the Pirates business. But face it, he's polishing a giant turd.
    • 48 Metascore
    • 50 Peter Travers
    xXx
    It's hard to hate a movie, even one this droolingly crass, that knows how to laugh at itself.
    • 45 Metascore
    • 50 Peter Travers
    What we have here is a model for the paint-by-numbers, perfectly generic, proudly soulless summer action flick. An original idea would die for lack of oxygen in S.W.A.T.
    • 55 Metascore
    • 50 Peter Travers
    The acting? Common and the Game score as baddies, but Hugh Laurie as an acid-tongued internal-affairs cop is disappointingly just House without the limp.
    • 57 Metascore
    • 50 Peter Travers
    Ritchie is all about the whooshing and headbanging, leaving no space between Holmes' words to savor their meaning. Downey is irresistible. The movie, not so much.
    • 40 Metascore
    • 50 Peter Travers
    It plays like an opportunity missed.
    • 43 Metascore
    • 50 Peter Travers
    Character gets sacrificed for just another true-crime drama.
    • 65 Metascore
    • 50 Peter Travers
    It's unlikely audiences will be echoing a starving Oliver's most famous line: "Please, sir, I want some more."
    • 55 Metascore
    • 50 Peter Travers
    Like a doggie in a window, this romcom relentlessly wags its tail so you'll fall in love and take it home. Not this time, puppy.
    • 50 Metascore
    • 50 Peter Travers
    The actors and admirably sensitive director Jake Scott (son of Ridley) can't compensate for Ken Hixon's long slog of a script.
    • 42 Metascore
    • 50 Peter Travers
    Alex Cross has been neutered on film, deprived of his sexuality, his family, his friends.
    • 41 Metascore
    • 50 Peter Travers
    Even the great ones hit snags. With The Limits of Control, Jim Jarmsuch gets tangled up in his own deadpan.
    • 43 Metascore
    • 50 Peter Travers
    Gray says she hates fishermen who catch and release: Getting jerked around hurts the jaw. See this movie and you'll know the feeling.
    • 57 Metascore
    • 50 Peter Travers
    Ledger's comic flair is a big plus in a film that is fanatically busy and fatally sexless.
    • 49 Metascore
    • 50 Peter Travers
    Mixing Rock with ooh-la-la turns out to be as appetizing as chalk and cheese.
    • 46 Metascore
    • 50 Peter Travers
    The result, sadly, is a mess.
    • 60 Metascore
    • 50 Peter Travers
    Our Idiot Brother comes off as a blueprint for a smart script no one really made. Now that's what I call dumb.
    • 61 Metascore
    • 50 Peter Travers
    Hamstrung by a script that seems determined to stop at all the big moments in Frida's life (she died in 1954 at age forty-seven) without giving anything time to resonate.
    • 56 Metascore
    • 50 Peter Travers
    With Del Toro's name in the credits, standard chills aren't enough. We want imagination to run riot.
    • 51 Metascore
    • 50 Peter Travers
    The scares are Hichcock hand-me-downs.
    • Rolling Stone
    • 55 Metascore
    • 50 Peter Travers
    The actors can't perform miracles. Hot dogs are served in the final scene, but trust me, Hyde Park on Hudson is no picnic.
    • 49 Metascore
    • 50 Peter Travers
    The result is just good enough to pass as an action flick you watch with the forgiving gaze that comes from too many beers and too little sleep.
    • 72 Metascore
    • 50 Peter Travers
    Magic Mike slowly degenerates into a simplistic cautionary fable. I didn't see that coming from a sharp observer like Soderbergh.
    • 56 Metascore
    • 50 Peter Travers
    ignore the pileup of implausibilities and Unknown becomes a diabolically entertaining con game. Does it jerk you around? Yes. Suck it up. The ride's worth it.
    • 59 Metascore
    • 50 Peter Travers
    Formula mother-brat stuff...It's only the deft teamwork of Portman and Sarandon that keeps the triteness at bay.
    • Rolling Stone
    • 68 Metascore
    • 50 Peter Travers
    Even a nice chianti couldn't help you wash down this lump of tear-jerking twaddle.
    • 64 Metascore
    • 50 Peter Travers
    The villains, an incestuous brother and sister played by real-life marrieds Amy Poehler and Will Arnett are a hoot. And "Office" honey Jenna Fischer is welcome as Jimmy’s love.
    • 46 Metascore
    • 50 Peter Travers
    Everything sly and low-key about The In-Laws, a 1979 comedy...is supersized and coarsened in Andrew Fleming's remake.
    • 54 Metascore
    • 50 Peter Travers
    Audiences expecting more Bullock or more weighty import from A Time to Kill will have to adjust expectations and settle for the kick of a good yarn.
    • 68 Metascore
    • 50 Peter Travers
    Any similarities between Josey and Lois Jenson, the real woman who made Eveleth Mines pay for their sins in a landmark 1988 class-action suit, are purely coincidental. Instead, we get a TV-movie fantasy of female empowerment glazed with soap-opera theatrics.
    • 58 Metascore
    • 50 Peter Travers
    For now, The Twilight Saga: Eclipse is just one more walk on the mild sides for tweens who dream of being penetrated by cold flesh that will keep them young and cute forever.
    • 59 Metascore
    • 50 Peter Travers
    Talk about beating a dead orc. In dutifully completing his prequel trilogy to his three-part Lord of the Rings triumph, director Peter Jackson has sadly saved the worst for last.
    • 49 Metascore
    • 50 Peter Travers
    The actors do what they can to keep their heads above the sudsy script. No go. It’s distressing to see a great subject go wrong in the right hands.
    • 45 Metascore
    • 50 Peter Travers
    Witherspoon has the class, the sass and the full-out talent to sustain a major career. Who else could turn the wimpy Sweet Home Alabama into a date-movie winner? She's one of that select group who is worth watching in anything. Even in this less-than-magic kingdom, Reese rules.
    • 51 Metascore
    • 50 Peter Travers
    We pity Linda, but it's no substitute for understanding her.
    • 53 Metascore
    • 50 Peter Travers
    Timberlake walks off with the movie. Too bad it's not worth stealing.
    • 35 Metascore
    • 50 Peter Travers
    Anselmo, basing his script on a true story, juggles more plots than a full season of "The O.C.," setting his cast adrift in a sea of soap-opera bubbles.
    • 60 Metascore
    • 50 Peter Travers
    Suffers from franchise fatigue. Its rote suspense is strictly a business proposition.
    • 56 Metascore
    • 50 Peter Travers
    It's as if the brothers admired the Swiss-watch precision of the original and wanted to take it apart to see how the pieces would work in a new setting. As an experiment, it's fascinating. But damn if the fiddling doesn't suck the life out of the laughs.
    • 50 Metascore
    • 50 Peter Travers
    Playwright Stephen Belber (Match), in his directing debut, comes close to the sweet spot. He's not there yet. But he'll be worth watching next time.
    • 51 Metascore
    • 50 Peter Travers
    This one means well, a kiss-of-death review if there ever was one.
    • 38 Metascore
    • 50 Peter Travers
    I don't like this movie. I don't like how it walks, talks, struts and sells itself. I find it contrived, tortured, humorless, infuriating and interminable. And yet if you care anything about film and the creative drive that still exists in the people who make them, then Third Person needs to be seen.
    • 50 Metascore
    • 50 Peter Travers
    If the script for this comic spin on Fatal Attraction were only a tenth as hot as Uma Thurman, director Ivan Reitman might have had something here.
    • 62 Metascore
    • 50 Peter Travers
    Contact aims to be a film of ideas but serves too many of them half-baked.
    • 57 Metascore
    • 50 Peter Travers
    Less like "Shrek," meaning hilarious and heartfelt, and more like "Shark Tale," meaning manic and exhausting, Madagascar will keep kids distracted without transporting them to wonderland.
    • 45 Metascore
    • 50 Peter Travers
    The film is shockingly light on music and heavy on crime scenes that play as bogus.
    • 55 Metascore
    • 50 Peter Travers
    Demme can't sustain the fizz, but seeing a real filmmaker try and fall short is still more fun than watching a hack hit the mark.
    • 52 Metascore
    • 50 Peter Travers
    What we do see is mom, dad, Braun, Usher, vocal coach Mama Jan Smith and the burgeoning Team Bieber claiming they only want the best for the boy as he goes through a punishing 84-date concert tour. Group hug.
    • 50 Metascore
    • 50 Peter Travers
    Eisenberg and Stewart stay appealing to the last. The movie, not so much.
    • 40 Metascore
    • 50 Peter Travers
    The strapping Owen as a guy who can't handle himself and cutie-pie Aniston as a witchy woman? I don't think so. Talk about derailed.
    • 37 Metascore
    • 50 Peter Travers
    No cliché is left unturned, and Gordon compensates with slick action.
    • 40 Metascore
    • 50 Peter Travers
    Just a "Rambo" rehash.
    • 54 Metascore
    • 50 Peter Travers
    Only fitfully funny, except when Ferrell is onscreen -- then you won't stop laughing.
    • 55 Metascore
    • 50 Peter Travers
    Statham is still playing it safe in Safe, but vulnerability is showing through the cracks.
    • 59 Metascore
    • 50 Peter Travers
    Gorden teases out some affecting scenes, but not enough to carry a film that promises more than it delivers.
    • Rolling Stone
    • 61 Metascore
    • 50 Peter Travers
    Cage works hard to find traces of humanity in a man that God forgot, as do screenwriter Steven Conrad and director Gore Verbinski. But in the face of a character no one cares about, can audiences be faulted for asking: Why should we?
    • 44 Metascore
    • 50 Peter Travers
    Cusack captures that desperation vividly enough to make you wish this was the real Poe story, which The Raven onscreen leaves buried alive.
    • 46 Metascore
    • 50 Peter Travers
    Saw
    It's gross as hell.
    • 45 Metascore
    • 50 Peter Travers
    The movie is such a chore because watching actors strain to wrap their mouths around prerecorded songs for 134 minutes is irritating and, worse, alienating.
    • 36 Metascore
    • 50 Peter Travers
    Spade goes sweet and gooey. This is nucking futs.
    • 50 Metascore
    • 50 Peter Travers
    The good news first: Keith Richards totally rocks it playing pirate daddy to Johnny Depp's Capt. Jack Sparrow. The deep rumble of his voice and those hooded eyes that narrowly open like the creaky gates of hell make him what the rest of this three-peat is not: authentically scary...So what's the bad news? Richards is onscreen for barely two minutes.
    • 46 Metascore
    • 50 Peter Travers
    I can see why Fast and Furious might be a smash as audiences look for escape from a broken economy. All those wheelies and power slides are designed to obliterate thought, not provoke it. Talk about a movie for its time.
    • 55 Metascore
    • 50 Peter Travers
    Curtis ladles sugar over the eager-to-please Love Actually to make it go down easy, forgetting that sometimes it just makes you gag.
    • 55 Metascore
    • 50 Peter Travers
    Anne Hathaway and Jake Gyllenhaal are hotties with talent. And they maneuver through the daunting maze of shifting tones and intersecting plots of Love and Other Drugs like the pros they are.
    • 40 Metascore
    • 50 Peter Travers
    It gives me no pleasure to report that Aloha is still a mess, a handful of stories struggling for a unifying tone.
    • 40 Metascore
    • 50 Peter Travers
    The chance for delicious satire melts away quickly in Butter, a spoof without oomph.
    • 43 Metascore
    • 50 Peter Travers
    Even sex can't save a film that produces instant narcolepsy.
    • 52 Metascore
    • 50 Peter Travers
    Between a diabolically funny start and a surprise climax, Scream 4 offers nothing more than a series of gory deaths that grow tiresome with repetition. The rating is a hard R, but Craven and Williamson keep it soft at its core. "Scream 1" is still the only keeper.
    • 47 Metascore
    • 50 Peter Travers
    Graham, back in the porn territory she aced in “Boogie Nights,” steals the show. In the winter doldrums, you don't kick at a movie that puts a smile on your face.
    • 52 Metascore
    • 50 Peter Travers
    It's Dead! It's Dead! By which I mean, It's Finished! It's Finished! Five movies have been squeezed out of four Stephenie Meyer Twilight books. All of them redefining cinematic tedium for a new century. And now, It's Over! It's Over! No more Twilight movies EVER! I'm so joyful that I might be overrating The Twilight Saga: Breaking Dawn, Part 2 by saying it's not half bad.
    • 58 Metascore
    • 50 Peter Travers
    There's a killer idea circling this tricked-up teen thriller, which is more than you can say for most summer movies. But the idea never lands because Nerve lacks the, well, nerve to follow through on its convictions.
    • 53 Metascore
    • 50 Peter Travers
    If "Pulp Fiction" impregnated "The Usual Suspects," the spawn would look a lot like Lucky Number Slevin. Great genes, but you keep wondering when the kid is going to grow up and find an identity of his own.
    • 54 Metascore
    • 50 Peter Travers
    By the end of the film, the cliché of everybody getting along is reduced to both sides working together in the ultimate monument to capitalism: a mall. Some message.
    • 55 Metascore
    • 50 Peter Travers
    It's wickedly amusing for a little bit -- Robbins and Hurt really get into it -- but ultimately the film becomes what it's fighting: just noise.
    • 49 Metascore
    • 50 Peter Travers
    Looks and flows great, dripping with the 1940s crime-thriller atmosphere that James Ellroy described in his 1987 novel. On other levels -- plot (overstuffed), suspense (muted), acting (Hilary Swank as a femme fatale? Please!), posing (Scarlett Johansson plays dress-up as a mini Lana Turner), sex (it's all before and after) -- the movie is a bust.
    • 49 Metascore
    • 50 Peter Travers
    Quick and the Dead plays like a crazed compilation of highlights from famous westerns. Raimi finds the right look but misses the heartbeat. You leave the film dazed instead of dazzled, as if an expert marksman had drawn his gun only to shoot himself in the foot.
    • 48 Metascore
    • 50 Peter Travers
    It's the stunning location photography of camera ace Elliot Davis that provides what the movie itself lacks: authenticity.
    • 55 Metascore
    • 50 Peter Travers
    Wyatt keeps the action coming at a fast clip, but watching Jim repeatedly pursue a path of self-destruction for reasons never made clear grows wearying.
    • 67 Metascore
    • 50 Peter Travers
    Missing is a sense of the interior life behind the smiling face that Selena showed the world.
    • 53 Metascore
    • 50 Peter Travers
    No denying the relevance of the tale.
    • 62 Metascore
    • 50 Peter Travers
    The gifted Myers lets his once and (I hope) future shag king get lost in an elephantine Hollywood franchise. The first time was the charm, baby.
    • 50 Metascore
    • 50 Peter Travers
    Downey makes something lively, sexy and moving out of a role that's just a thin concept. But the movie feels like it's still in the darkroom.
    • 46 Metascore
    • 50 Peter Travers
    Sandra Bullock and Ben Affleck as star-crossed lovers, is the cinematic equivalent of Styrofoam: a weightless romantic comedy of synthetic feelings.
    • 39 Metascore
    • 50 Peter Travers
    Too limp to deliver.
    • Rolling Stone
    • 48 Metascore
    • 50 Peter Travers
    As the film stopped counting back in years and switched to months, I panicked that it would slog on to weeks, hours and seconds before reaching its inevitable end. I was wrong. About A Lot Like Love leaving you wanting a lot less, I am right.
    • 52 Metascore
    • 50 Peter Travers
    This Nacho leaves your palate longing for more spice and less rancid cheese.
    • 44 Metascore
    • 50 Peter Travers
    There's no Judy Garland songs, no Scarecrow, no Tin Man, no Cowardly Lion. There's also no simplicity, no magic, no truth.
    • 32 Metascore
    • 50 Peter Travers
    It's only when the film attempts to express its ideas in spoken English that logic dissolves into a muddle that would test the most rabid Dylanologist.
    • 58 Metascore
    • 50 Peter Travers
    Malick keeps pushing Affleck to the corner of the frame, as if he's more interested in the women. I found it difficult to maintain interest in anyone. If there's such a thing as a feather that weighs a ton, it's To the Wonder.
    • 21 Metascore
    • 50 Peter Travers
    It's "The Exorcist" warmed over.
    • 49 Metascore
    • 50 Peter Travers
    One gut-busting death after another, terror giving way to tedium. Your call.
    • 63 Metascore
    • 50 Peter Travers
    Depp swans through this swashbuckler with a scene-stealing gusto unseen since Marlon Brando in "Mutiny on the Bounty." He's comic dynamite, but this plodding, repetitive bore should walk the plank for timidly refusing to light his fuse.
    • 35 Metascore
    • 50 Peter Travers
    Then the aliens show up, chased by Morgan Freeman as a nut-job Army colonel, and the movie degenerates into a sorry, silly, gory, punishingly overlong creature feature.
    • 58 Metascore
    • 50 Peter Travers
    Footloose 2011 is harmless as far as it goes, but on the dance floor and off it never goes nearly far enough.
    • 61 Metascore
    • 50 Peter Travers
    By any fair standard, this lushly produced film is a long, bumpy ride to a major letdown.
    • 50 Metascore
    • 50 Peter Travers
    There are times when Braff and Melfi hint at the darkness of a world that ignores seniors by making them invisible. But this new version of Going in Style sells uplift so hard it loses touch with reality – and any genuine reason for being.
    • 39 Metascore
    • 50 Peter Travers
    It's love with tragic complications, and director Luis Mandoki drags the torture out for two-plus hours.
    • 46 Metascore
    • 50 Peter Travers
    Payback is a brutally entertaining crime drama that should have been a little more brutal and a little less entertaining.
    • 51 Metascore
    • 50 Peter Travers
    Meryl Streep can do anything: sing, dance, do splits, act her heart out. She (almost) saves this clumsy, overwrought film version of the Abba musical that's been running on stages from Broadway to Barcelona since 1999.
    • 52 Metascore
    • 50 Peter Travers
    It's a bigger yawn than it sounds.
    • 47 Metascore
    • 50 Peter Travers
    How do you screw this up? You've got three leading actresses – Susan Sarandon, Naomi Watts and Elle Fanning – who are usually worth watching in anything. But 3 Generations is pushing it. Even nurturing talent can't breathe life into a script that is completely D.O.A.
    • 55 Metascore
    • 50 Peter Travers
    In "Gran Torino," Eastwood took on the moral issues that screenwriter Gary Young and first-time director Daniel Barber studiously avoid. It's the difference between riveting and repellent.
    • 41 Metascore
    • 50 Peter Travers
    Director Vadim Jean is lucky that his low-octane comedy is long on Short.
    • 27 Metascore
    • 50 Peter Travers
    Jokes dying on the lips of these easy riders are hard to stomach.
    • 47 Metascore
    • 50 Peter Travers
    Many a road to movie hell is paved with good intentions. To that list of lost causes add Being Charlie, a well-meaning study of addiction that hits too many banal beats to snap us to attention.
    • 46 Metascore
    • 50 Peter Travers
    As I write these words, I feel myself experiencing a loss of consciousness, wondering how this recipe for sugar shock could interest any sentient being over the age of nine.
    • 41 Metascore
    • 50 Peter Travers
    McConaughey, despite alarmingly orange makeup, does justice to the role, a hard-drinking, shipwreck- hunting senator's son with a 007 way with the ladies.
    • 63 Metascore
    • 50 Peter Travers
    Their banter is fun at the start until it becomes relentless.
    • 49 Metascore
    • 50 Peter Travers
    Should have been a fun update on the 1967 Brit farce. Director/co-writer Ramis comes on too strong with the camper trickery.
    • Rolling Stone
    • 57 Metascore
    • 50 Peter Travers
    It's fun to see Sean Penn portray a playboy, like Bogart in "Casablanca," who hides his true heart behind a layer of cynicism.
    • Rolling Stone
    • 52 Metascore
    • 50 Peter Travers
    What starts as freshly spun cotton candy ends as something pink, sticky and indigestible. You leave the theater wanting to puke it up.
    • 53 Metascore
    • 50 Peter Travers
    If looks were everything, director Baz Luhrmann's epic salute to his native land would be the movie of the year. But, crikey, a padded script bloated with subplots and shameless sentimentality can wear you down.
    • 51 Metascore
    • 50 Peter Travers
    The women in Rough Night are terrific company. They never wear out their welcome. You can't say the same for the movie.
    • 66 Metascore
    • 50 Peter Travers
    What happens to the film's title character — and the audience — shouldn't happen to a dog.
    • 48 Metascore
    • 50 Peter Travers
    Broken Lizard does it with a shit-faced integrity that's worth a salute.
    • 59 Metascore
    • 50 Peter Travers
    There's no script to speak of, just two appealing actors volleying comic-romantic cliches at each other.
    • 47 Metascore
    • 50 Peter Travers
    The film falls short; only Peet goes the whole nine yards.
    • Rolling Stone
    • 48 Metascore
    • 50 Peter Travers
    It's a kick to see the adorably sexy Barrymore back in relaxed form again after the "Duplex" debacle and that calamitous "Charlie's Angels" sequel. Right now, she's the closest thing to sunshine you'll find at the movies.
    • 48 Metascore
    • 50 Peter Travers
    What nearly saves the movie, besides the Rasmussen eye candy, is Paris itself, shot in shimmering black-and-white by the gifted Thierry Arbogast. Talk is cheap here, and often inane, but as a silent film, Angel-A could have been magic.
    • 38 Metascore
    • 50 Peter Travers
    There's no arguing that Cuba Gooding Jr. is trying to do right by the mentally disabled James Robert Kennedy.
    • 41 Metascore
    • 50 Peter Travers
    DeMonaco shows a sure hand at building tension. Too bad the film devolves into a series of home-invasion clichés. The Purge was almost on to something.
    • 51 Metascore
    • 50 Peter Travers
    It's a bloodless, gutless piece of PG-13 fodder, geared to go down easy. That it does. It practically evaporates while you're watching it, lulling when you most want it to levitate.
    • 42 Metascore
    • 50 Peter Travers
    A flabby farce that might win a pass at the box office because it's just so cute and family friendly. But where's your edge, guys? Where are the laughs that walk a tightrope?
    • 52 Metascore
    • 50 Peter Travers
    Worse, Safe House asks us to believe that Ryan Reynolds can outclass Denzel Washington in the art of being a hard-ass. Not on this planet, baby.
    • 45 Metascore
    • 50 Peter Travers
    The film's problems lie with the lack of spark between a wired Dunst and a bland Bloom, and the meltdown of Drew's mother (Susan Sarandon), who grieves by tap-dancing.
    • 45 Metascore
    • 50 Peter Travers
    It's no mystery that the target audience for this G-rated bubblegum fantasy is tweens, parents of tweens and the occasional pervert. They'll be so pleased. Anything for the rest of humanity? Not so much.
    • 49 Metascore
    • 50 Peter Travers
    Depending on your reaction to the cinematic outrages perpetrated by Danish director Lars von Trier (remember Dogville?), you might want to add or subtract two stars from the halfway (half-assed?) rating I just gave Antichrist.
    • 38 Metascore
    • 50 Peter Travers
    Chainsaw is produced by Michael Bay (Bad Boys I and II), which explains its soullessness. But nothing explains the flaw in this bad boy: How can a movie scare you when you’ve seen it all before?
    • 58 Metascore
    • 50 Peter Travers
    There's no disguising the fact that Shrek the Third has come down with a bad case of sequelitis. You know the symptoms: Lots of razzle-dazzle to distract from the hole at the center of the story. You know, the place where fresh ideas should be.
    • 49 Metascore
    • 50 Peter Travers
    When humor is served black, they call it dramedy. When it's done in this movie, I call it indigestible.
    • 54 Metascore
    • 50 Peter Travers
    It helps that Kevin Kline excels as Ricki's ex, and Mamie Gummer, Streep's real-life daughter, imbues the fictional version with rare grit and grace. Otherwise, too many wrong notes.
    • 52 Metascore
    • 50 Peter Travers
    The cliched script by Carol Heikkinen plays like "Dawson's Creek" in toeshoes.
    • Rolling Stone
    • 54 Metascore
    • 50 Peter Travers
    An adventure that never met a cliche it couldn't saddle, mount and ride for a butt-numbing two hours and sixteen minutes.
    • 44 Metascore
    • 50 Peter Travers
    Ever since "True Blood" glamoured me, Twilight seems even more sexless and toothless. I prefer my undead with a little life in them.
    • 59 Metascore
    • 50 Peter Travers
    Maybe money never sleeps, but this missed opportunity of a movie will have audiences dozing.

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