Peter Travers

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For 2,512 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 4.7 points higher than other critics. (0-100 point scale)

Peter Travers' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Bowling for Columbine
Lowest review score: 0 Obsessed
Score distribution:
2512 movie reviews
    • 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.
    • 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.
    • 45 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.
    • 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.
    • 65 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Peter Travers
    So the sequel, A Game of Shadows, is more of the stupid same. It wouldn't matter so much if Downey and Jude Law, as the bromantic Dr. Watson, didn't look so ready to turn on the cerebral dazzle. Instead, Ritchie treats them like action goons out of his "Lock, Stock and Two Smoking Barrels" basement.
    • 65 Metascore
    • 50 Peter Travers
    Ninety minutes of being buried alive with Ryan Reynolds: Didn't we all suffer that in "The Proposal"?
    • 40 Metascore
    • 50 Peter Travers
    It's all a jumble and, worse, a damned impersonal one.
    • 56 Metascore
    • 50 Peter Travers
    The movie is so soggy and anonymous, I had to remind myself that the Farrelly brothers, Peter and Bobby, directed it. It's sad to watch the kingpins of gross-out try to dial down to cute. Swung at and missed.
    • 37 Metascore
    • 50 Peter Travers
    Where "Drive" shrewdly mystifies, Only God Forgives stupefies. You can see its gears grinding. But I'll always hang on for a rare talent like Refn. Even when he stumbles, he leaves you eager to see what he's up to next.
    • 33 Metascore
    • 50 Peter Travers
    Isn't much of a movie, but it's worth a look just to see screen legend Kirk Douglas, Michael's eighty-three-year-old father, kick ass.
    • Rolling Stone
    • 40 Metascore
    • 50 Peter Travers
    May be only loosely true, but it is thoroughly Hollywood.
    • 47 Metascore
    • 50 Peter Travers
    So flimsy it gives froth a bad name.
    • 61 Metascore
    • 50 Peter Travers
    The film version of Carnage hasn't just lost God from its title, it's lost the laughs from the play that brought it life.
    • 56 Metascore
    • 50 Peter Travers
    The questions is: Can the minions carry a movie all by their mischievous mini-selves? 'Fraid not. This origin story, while being utterly harmless and far from despicable, wears out its welcome way too soon.
    • 25 Metascore
    • 50 Peter Travers
    Essentially an old-fashioned weepie gussied up for Y2K.
    • Rolling Stone
    • 38 Metascore
    • 50 Peter Travers
    Confessions is no more than a painless time-waster. But the beguiling Fisher is well worth the investment.
    • 48 Metascore
    • 50 Peter Travers
    I didn't believe a word of it.
    • 49 Metascore
    • 50 Peter Travers
    The only touch of Caine's brutal sexiness is in the thrilling songs by Mick Jagger and Dave Stewart that should win Sir Mick his first Oscar. The rest is marshmallow.
    • 33 Metascore
    • 50 Peter Travers
    How special.
    • Rolling Stone
    • 53 Metascore
    • 50 Peter Travers
    Things go wrong quickly with Amazing 2. Am I the only one who hates the word Amazing to describe a movie that isn't? Just asking. If I had to pinpoint where this epic goes south, I'd start with the tonal shifts.
    • 76 Metascore
    • 50 Peter Travers
    What begins brightly gets bogged down over 140 minutes. A film that took off like a hare on speed ends like a winded tortoise.
    • 55 Metascore
    • 50 Peter Travers
    Cate Blanchett is the spark that keeps this well-meaning but by-the-numbers biopic going.
    • 51 Metascore
    • 50 Peter Travers
    Duvall missteps in trying to mesh suspense with a love story that also involves the woman (Kathy Baker) John J. lives with and her young daughter (Katherine Micheaux Miller), on whom he disturbingly dotes.
    • 57 Metascore
    • 50 Peter Travers
    Some may enjoy the slapstick, which plays like "Harold & Kumar Go to Old Peking," but this bloodless Coen crib job is simply not my cup of noodles.
    • 64 Metascore
    • 50 Peter Travers
    By the time Fry lets darkness encroach on these bright young things, the fizz is gone, and so is any reason to make us give a damn.
    • 45 Metascore
    • 50 Peter Travers
    Funny? Sometimes. Scary? Almost never. PP&Z spins merrily and menacingly along for about half an hour. Bad luck that the movie's running time is 107 minutes.
    • 55 Metascore
    • 50 Peter Travers
    Hell, I really meant to at least like 2 Guns. But I couldn't. The movie just didn't make the extra effort.
    • 44 Metascore
    • 50 Peter Travers
    Killer Elite pretends to be fact-based and true to its 1980s period. Just know it's all baloney.
    • 49 Metascore
    • 50 Peter Travers
    Writer-director Andrew Niccol -- gets this Hollywood satire off to a rousing start. But the middle flattens, despite Pacino firing on all cylinders. And the end just nose-dives into something silly and, worse, sentimental.
    • 64 Metascore
    • 50 Peter Travers
    It's a gimmick, it's not a movie.
    • 29 Metascore
    • 50 Peter Travers
    Elliot fails to make the needed connection between the audience and a peeper who has lost his moral balance.
    • Rolling Stone
    • 57 Metascore
    • 50 Peter Travers
    Director Tony Goldwyn tries for the lyrical melancholy he brought to "A Walk on the Moon," but as Michael waits for days on Jenna's porch getting drenched (as irritating a scene as any in recent cinema), only the most rabid chick-flick fan will fail to notice that it's the movie that's all wet.
    • 59 Metascore
    • 50 Peter Travers
    The Rock has a flair for action and comedy; he's a real movie star.
    • 37 Metascore
    • 50 Peter Travers
    The film collapses because Lee can't sew these vignettes into a seamless tapestry. He's more interested in getting even than he is in getting it right.
    • 57 Metascore
    • 50 Peter Travers
    If you can't watch John Malkovich being John Malkovich, it's still a kick watching him play Alan Conway, a gay Brit who pretended to be the legendary and reclusive director Stanley Kubrick during the 1990s.
    • 55 Metascore
    • 50 Peter Travers
    In his sappiest film since 1989's "Always," director Steven Spielberg has come down with a case of the cutes that the whole cast catches.
    • 50 Metascore
    • 50 Peter Travers
    A frustratingly uneven satire with undeniably sharp teeth, isn't afraid to shoot comic darts at its targets until blood is drawn.
    • Rolling Stone
    • 50 Metascore
    • 50 Peter Travers
    It's unapologetic schmaltz, deftly directed by Gary Winick (Tadpole) as if it really meant something.
    • 60 Metascore
    • 50 Peter Travers
    With raw shock and a riveting Uma Thurman absent this time, Nymphomaniac: Volume II is a metaphoric limp dick.
    • 46 Metascore
    • 50 Peter Travers
    Miller's monochrome palette, splashed with color that shines like a whore's lip gloss, doesn't startle as it once did. It's like running into an ex-love and realizing that, damn, the thrill is gone.
    • 61 Metascore
    • 50 Peter Travers
    Remember "Limitless," the 2011 thriller in which Bradley Cooper becomes a whirling killer dervish from a drug that lets him access 100 percent of his brain? Well, Lucy is basically the same movie with Scarlett Johansson in the Cooper role. It's not a good trade-off.
    • 59 Metascore
    • 50 Peter Travers
    I never rooted for them as a couple, never felt a chemistry in their bond. And in a romance, even one with tragic notes, that really is the end of the world.
    • 62 Metascore
    • 50 Peter Travers
    Despite Bates' mastery at bringing unexpected depth to unhinged characters, Dolores is a few pints low on chills and challenge.
    • 46 Metascore
    • 50 Peter Travers
    After a lively start -- the sorority sisters, shaken by the slightest imperfection in themselves, cannot cope with handicapped athletes -- the film smooths its rough edges and reduces complex characters to sitcom stooges. Call it an opportunity missed.
    • 45 Metascore
    • 50 Peter Travers
    It's too bad. Jones deserved better than a biopic with a TV-movie heart.
    • 55 Metascore
    • 50 Peter Travers
    What a cast, indeed. And what a bust as persuasive drama.
    • 56 Metascore
    • 50 Peter Travers
    A dash of Tarantino might have juiced up Walter Salles' wrongheadedly well-mannered take on Jack Kerouac's 1957 Beat Generation landmark. Kerouac's semi-autobiographical novel comes to the screen looking good but feeling shallow.
    • 56 Metascore
    • 50 Peter Travers
    What you get in this cop drama is NYPD Blue lite. That's not bad. In fact, it's compulsively watchable. But there are no leaps, just fits and starts.
    • 49 Metascore
    • 50 Peter Travers
    It should have been an old-fashioned rouser, and sometimes it is. The great cinematographer Robert Richardson (JFK) lights the battle scenes like action paintings. But Kapur weighs down the tale with bogus profundities.
    • 61 Metascore
    • 50 Peter Travers
    Hackman and Hoffman, old pals in their first film together, make a lively business of their one scene together -– in a toilet, no less. The rest you can flush.
    • 52 Metascore
    • 50 Peter Travers
    The pie looks delicious, but Labor Day feels stale.
    • 58 Metascore
    • 50 Peter Travers
    Last stand? My ass. Billed as the climax of a trilogy, the third and weakest chapter in the X-Men series is a blatant attempt to prove there is still life in the franchise.
    • 56 Metascore
    • 50 Peter Travers
    Sugar Ray Leonard helped with the motion-capture, and it shows. Good stuff. But the tear-jerking in Real Steel is as shameless as its product placement. We're being hustled.
    • 50 Metascore
    • 50 Peter Travers
    What's in this cliché grab bag for moviegoers? Well, Portman and Kutcher are a cute mismatch. She's short to his tall, sassy to his sweet, etc. I dried up here. So does the movie.
    • 34 Metascore
    • 50 Peter Travers
    Their (Travolta/Jackson) teamwork was classic. Basic breaks up the team. What's up with that?
    • 48 Metascore
    • 50 Peter Travers
    The Core -- with its by-the-numbers plot and performances -- isn't offensive, just unblushingly tacky and derivative.
    • 54 Metascore
    • 50 Peter Travers
    What if director Joseph Ruben didn't resort to B-movie suspense tricks? What if the fine cast wasn't saddled with a shamelessly contrived script by Wesley Strick and Bruce Robinson? Then Return to Paradise would be a better movie, that's what if.
    • 64 Metascore
    • 50 Peter Travers
    DiCaprio is terrific, but he can't save this lecture from the shame of using Africa as a vehicle for another white man's redemption.
    • 55 Metascore
    • 50 Peter Travers
    You always know where it's going even as it meanders for two and a half hours getting there.
    • 64 Metascore
    • 50 Peter Travers
    Sollett, hoping for a "Before Sunrise/Before Sunset" vibe, sadly settles for a soggy aftertaste.
    • 44 Metascore
    • 50 Peter Travers
    Jobs is a one-man show that needed to go for broke and doesn't. My guess is that Jobs would give it a swat.
    • 39 Metascore
    • 50 Peter Travers
    Admirers of Irving's sprawling tome are sure to find Birch a botch.
    • 61 Metascore
    • 50 Peter Travers
    Here's the problem: The movie was made just four years ago by Argentinian director Fabian Bielinsky. It is called "Nine Queens," and it is vastly superior to this blah U.S. remake from director Gregory Jacobs.
    • 54 Metascore
    • 50 Peter Travers
    By playing it safe, the new Precinct leaves the audience sorry and restores thirteen to its place as the unluckiest number.
    • 58 Metascore
    • 50 Peter Travers
    Will Smith has an easy charm, and this labored romantic farce works it hard. Too hard.
    • 42 Metascore
    • 50 Peter Travers
    Lulls aside, Wain and Showalter deserve camp kudos for getting the details right.
    • 54 Metascore
    • 50 Peter Travers
    Fine directors Scott McGehee and David Siegel take a detour into mumbo jumbo.
    • 45 Metascore
    • 50 Peter Travers
    Cate Blanchett can do anything, even play Bob Dylan, but she can't save this creaky sequel to her star-making 1998 biopic of Elizabeth I.
    • 44 Metascore
    • 50 Peter Travers
    Doesn't seem directed at all; you half expect the actors to crash into each other. Still, give me the attempted satire of Head of State over the racial stereotyping of "Bringing Down the House" anyday. You can feel a mind at work when you watch Rock.
    • 60 Metascore
    • 50 Peter Travers
    De Niro's decision to make Dwight a loony from the get-go throws the delicate symmetry of the story out of whack.
    • 45 Metascore
    • 50 Peter Travers
    The film ultimately gives in to a case of TV-movie blahs.
    • 52 Metascore
    • 50 Peter Travers
    It's subpar sitcom.
    • 56 Metascore
    • 50 Peter Travers
    Kline finds every nuance of mirth and melancholy in this wonder of a role and rides it to glory. You can't take your eyes off him.
    • 52 Metascore
    • 50 Peter Travers
    Just soak up that Tuscan sun and wonder when Lane will get another movie, like "Unfaithful" or "A Walk on the Moon," that will let her really shine.
    • 55 Metascore
    • 50 Peter Travers
    The film feels more like a thesis than vivid drama.
    • 66 Metascore
    • 50 Peter Travers
    Sherrybaby is the kind of pretend-arty Sundance thing that gives indie cinema a bad name.
    • 51 Metascore
    • 50 Peter Travers
    Wahlberg could sleepwalk through this role, and does. See this movie and you'll surely follow his lead.
    • 53 Metascore
    • 50 Peter Travers
    There's heart but not much heat in this film version of "The Echoing Grove."
    • 46 Metascore
    • 50 Peter Travers
    If you're thinking "yuck," you're right. I added the extra star for Zooey Deschanel, who is so delicious as his honey that you want not to say no to Yes Man.
    • 44 Metascore
    • 50 Peter Travers
    Lots of talented young singers decorate the scenery, notably Jeremy Jordan (late of Broadway's failed Bonnie & Clyde but soon-to-open in Newsies)who has vocal and acting chops that shine even in this bucket of Glee Goes Gospel cornpone.
    • 44 Metascore
    • 50 Peter Travers
    Jennifer Aniston is a friend in need of a movie script that will really let her talent blossom. Picture Perfect is too TV-ish and timid a romantic farce to do the trick.
    • 46 Metascore
    • 50 Peter Travers
    Even the best actors -- and I'd rank Joaquin Phoenix and Mark Ruffalo among their generation's finest -- can't save a movie that aims for tragedy but stalls at soap opera.
    • 45 Metascore
    • 50 Peter Travers
    Jewison dodges the issues in the script by Ronald Harwood (The Pianist) to focus on cat-and-mouse chases that kill interest.
    • 53 Metascore
    • 50 Peter Travers
    In an effort to blend Thackeray and "Sex and the City," Vanity Fair ends up nowhere.
    • 43 Metascore
    • 50 Peter Travers
    Colorful and exciting, as far as it goes. But Boyle and Hodge pull back on their usual wit and grit.
    • Rolling Stone
    • 46 Metascore
    • 50 Peter Travers
    It strikes me that their teasing and one-upmanship are more brother and sister at play than lovers in heat. Cruise and Diaz are in it for the action rush.
    • 35 Metascore
    • 50 Peter Travers
    As sexist propaganda, the film is shameless.
    • 45 Metascore
    • 50 Peter Travers
    Writer-director Mike Binder, who worked beautifully with Costner on 2005's "The Upside of Anger," finds himself on the downside of juggling stereotypes.
    • 50 Metascore
    • 50 Peter Travers
    This slapstick road movie feels tossed off by people on a raunchy bender. I mean that as a good thing. The trouble with Hit & Run is that it can't sustain its trippy effervescence.
    • 49 Metascore
    • 50 Peter Travers
    An alternately kick-ass and clumsy piece of sci-fi claptrap that puts its empty head down and gets the job done.
    • 68 Metascore
    • 50 Peter Travers
    In relying on narration, Redford's movie is too little show and too much tell.
    • 47 Metascore
    • 50 Peter Travers
    At the risk of understatement, The Matrix Revolutions sucks.
    • 47 Metascore
    • 50 Peter Travers
    The main problem with this treatise on racial politics undercover as an exercise in suspense is that the director, Neil LaBute, didn't write the script.
    • 42 Metascore
    • 50 Peter Travers
    Surprise is lacking. Ditto humor, though Miles Teller (Whiplash), as a thorn in Four's side, gets in a few fun licks by not staying on the film's draggy tempo. Otherwise, Insurgent stubbornly fails to surge.
    • 50 Metascore
    • 50 Peter Travers
    It looks slick, pricey and starry – Indiana Jones teams up with James Bond for a gunfight with space demons. But even Harrison Ford and Daniel Craig can't save a movie that's all concept, no content.
    • 55 Metascore
    • 50 Peter Travers
    It doesn't help that Damon and Cruz fail to generate sparks or that the second half of the film, in which John and Lacey face hell in a Mexican prison, feels bluntly edited to fit a two-hour running time.
    • Rolling Stone
    • 49 Metascore
    • 50 Peter Travers
    Instead of a scalding brew of mirth and malice, served black, Donner settles up a tepid latte, decaf.
    • 53 Metascore
    • 50 Peter Travers
    What the movie damagingly lacks is a personality of its own.
    • 64 Metascore
    • 50 Peter Travers
    Despite a hint that Peter (Jeremy Sumpter) and Wendy (Rachel Hurd-Wood) might get it on, there's nothing to crow about.
    • 42 Metascore
    • 50 Peter Travers
    One raucous night, one raunchy party, "American Graffiti filtered through "Dazed and Confused" and the Shermer High films of John Hughes.
    • 57 Metascore
    • 50 Peter Travers
    What doesn't spark is the love story. Morton still seems soggy from her "Minority Report" role as a drenched pre-cog. Who wants romance in a future where glum is the word?
    • 54 Metascore
    • 50 Peter Travers
    For all the bells and whistles – an electronic score by M83, a screen-busting Imax presentation and Cruise going full throttle – Oblivion feels arid and antiseptic, untouched by human hands. Bummer.
    • 39 Metascore
    • 50 Peter Travers
    No matter Bateman and Reynolds make The Change-Up seem a lot better than it is. Each earns a star in my review. The movie would be literally nothing without them.
    • 63 Metascore
    • 50 Peter Travers
    It's no go. Green and Gothic make for a clumsy fit.
    • 68 Metascore
    • 50 Peter Travers
    Until the last half-hour, when Lucas actually does establish a emotional connection between the landmark he created in 1977 and the prequel investment portfolio he laid out in 1999, the movie is one spectacularly designed letdown after another.
    • 37 Metascore
    • 50 Peter Travers
    The sequel, also directed by Harold Ramis, is painfully padded.
    • 45 Metascore
    • 50 Peter Travers
    The team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie.
    • 47 Metascore
    • 50 Peter Travers
    Watching John Travolta ease into a role is always a pleasure, but this film version of Nelson DeMille's 1992 best-selling mystery novel is a lurid mess.
    • 65 Metascore
    • 50 Peter Travers
    Before it goes off the rails into strained sermonizing, this sorta-sequel to 2008’s delightful "Forgetting Sarah Marshall" gets in big laughs.
    • 56 Metascore
    • 50 Peter Travers
    Towne doesn't weave all the elements as deftly as before, and his political observations seem secondhand.
    • 60 Metascore
    • 50 Peter Travers
    There is nothing new in Robert Greenwald's sobering doc.
    • 63 Metascore
    • 50 Peter Travers
    Lavishly produced swashbuckler that should have been far more entertaining.
    • 42 Metascore
    • 50 Peter Travers
    Close gets laughs, as does Bette Midler as a Jewish rebel. But the sting is gone.
    • 53 Metascore
    • 50 Peter Travers
    This is the kind of movie that they show on planes -- white noise that lulls you to sleep.
    • 56 Metascore
    • 50 Peter Travers
    The Stooges were always better in short doses. And 90 minutes of PG nyuk-nyuk-nyuk can seem like an eternity.
    • 59 Metascore
    • 50 Peter Travers
    To sum up, Definitely, Maybe is crap with compensations.
    • 59 Metascore
    • 50 Peter Travers
    The script is too primly PG-13 to really go for it. Warm Bodies even suggests that true love can help the right zombie grow a new heart. That's a con job that makes Bodies lukewarm at best.
    • 52 Metascore
    • 50 Peter Travers
    The actors, especially Grace, fight hard against a schizoid script (the kids are rubes one sec, hipsters the next) and cotton-candy direction from Robert Luketic (Legally Blonde). It's a losing battle.
    • 55 Metascore
    • 50 Peter Travers
    This oddball mix of "The Cotton Club" and "Six Feet Under" is a big, beautiful mess. But it offers the not-uninstructive spectacle of talented people stumbling over large and unwieldy ambitions.
    • 52 Metascore
    • 50 Peter Travers
    Brazilian director José Padilha (Elite Squad, Bus 174) soldiers on stolidly, but lacks the Dutch Verheoeven's abiding sense of mischief.
    • 46 Metascore
    • 50 Peter Travers
    Miles below the Woodman's class. It's possible that a more astringent script could have provided fuel for the actors and A-list director Ron Howard.
    • 52 Metascore
    • 50 Peter Travers
    What good is a wallow in sicko sadism if you take all the fun out of it?
    • 44 Metascore
    • 50 Peter Travers
    How could a 2009 raunchfest that slapped a grin on my face I couldn't unglue degenerate into a cold dish of sloppy seconds?
    • 44 Metascore
    • 50 Peter Travers
    Though shot for maximum moodiness by the gifted Peter Deming ("Mulholland Drive"), the movie straps you in for a head trip that promises hallucinatory wonders but delivers the same old Hollywood formula with sugar on top.
    • 32 Metascore
    • 50 Peter Travers
    It's simply a retread of the first Ride Along, a 2014 box-office hit, and proof positive that a bigger budget doesn’t buy bigger laughs.
    • 35 Metascore
    • 50 Peter Travers
    Certainly blunt, and since Anderson and Bach are veterans of the porn trade, there is no skimping on the sex.
    • 44 Metascore
    • 50 Peter Travers
    There was a time when guys would grab a six-pack and watch this kind of flick at a drive-in. I mean that as a compliment.
    • 52 Metascore
    • 50 Peter Travers
    Stroman should have studied the original Producers that Brooks directed in 1968, with Zero Mostel and Gene Wilder. It answers the question "Where did they go right?"
    • 45 Metascore
    • 50 Peter Travers
    As a thriller, Firewall is flabby and familiar.
    • 59 Metascore
    • 50 Peter Travers
    It’s feels like the New Puritanism (recently repped by the outcry over Janet Jackson’s "wardrobe malfunction" at the Super Bowl) is seeping in. But in the barbershop? Say it isn’t so.
    • 60 Metascore
    • 50 Peter Travers
    Imagine David Mamet rewriting his political satire "Wag the Dog" -- in which a president and his advisers declare war to distract the media from the prez's horn-dog activities -- as a joke-free kidnap drama.
    • 33 Metascore
    • 50 Peter Travers
    The film looks and feels authentic, but Duchovny has powered his undeniably personal journey with a counterfeit heart.
    • 49 Metascore
    • 50 Peter Travers
    With Newman, the movie emerges as a lively character piece with flashes of humor and grace.
    • Rolling Stone
    • 48 Metascore
    • 50 Peter Travers
    Would it be asking too much if the hit-and-miss jokes could maybe nudge an inch beyond the obvious?
    • Rolling Stone
    • 41 Metascore
    • 50 Peter Travers
    It's slick girlie stuff, but the cast makes it go down easy.
    • 47 Metascore
    • 50 Peter Travers
    What a shame that Kelly's pacing doesn't run as fast as his imagination. Instead of sweeping you along, The Box just sits there like something unclaimed at lost and found. Damaged goods.
    • 61 Metascore
    • 50 Peter Travers
    The estrogen overload damn near did me in.
    • 53 Metascore
    • 50 Peter Travers
    Pitt and Ford try to dig deeper, but the script undercuts them with preachy dialogue that might as well read, "Insert stereotype here."
    • 58 Metascore
    • 50 Peter Travers
    Wood, whose mostly mute turn is defined by his black suit and glasses, can only stare in stupefaction at Schreiber's jittery mix of broad laughs and sentiment. Audiences will share the feeling.
    • 45 Metascore
    • 50 Peter Travers
    The pop diva goes down with the bubbles in this hopelessly shallow soap opera.
    • 41 Metascore
    • 50 Peter Travers
    Suffers from lulls and lapses and one lulu of a casting gaffe, but this keenly observant spoof of the fame game is hardly the work of a burnout.
    • 49 Metascore
    • 50 Peter Travers
    Guess what? It's almost bearable.
    • 43 Metascore
    • 50 Peter Travers
    Affleck is modest and engaging, which keeps the movie out of "Gigli" territory. But it's close.
    • 58 Metascore
    • 50 Peter Travers
    Disney deserves praise for raising the ante on its ambitions in animation. Next time, though, a little less civics lesson and a little more heart.
    • 46 Metascore
    • 50 Peter Travers
    Strains credulity at every turn.
    • 51 Metascore
    • 50 Peter Travers
    The code talkers deserved better than a hollow tribute.
    • 36 Metascore
    • 50 Peter Travers
    You leave Lady thinking there are still voices in Shyamalan's head well worth a listen.
    • 55 Metascore
    • 50 Peter Travers
    What a shame, though, that the movie isn't a livelier business.
    • 48 Metascore
    • 50 Peter Travers
    I'd see Tina Fey and Paul Rudd in anything, but this is pushing it. Admission is so slight that a breeze could flatten it.
    • 58 Metascore
    • 50 Peter Travers
    You long for things to go bump in the night, but the movie muffles every risk in a blanket of bland.
    • 51 Metascore
    • 50 Peter Travers
    Like the 2010 original, The Expendables 2 is all sound and fury signifying nothing, when at the very least it should add up to big, dumb fun.
    • 48 Metascore
    • 50 Peter Travers
    What should have been an affecting film becomes a rank blend of sentiment and sadism in the hands of Bruce Beresford, the Australian writer and director.
    • 58 Metascore
    • 50 Peter Travers
    Josh Lucas plays Haskins with a no-bull vigor that comes in handy when the script saddles him with all-bull platitudes.
    • 56 Metascore
    • 50 Peter Travers
    Paltrow looks glam even in death, which only supports the notion, raised by Plath’s daughter Frieda Hughes, that the movie would be about a "Sylvia Suicide Doll." Good call.
    • 37 Metascore
    • 50 Peter Travers
    There is one high note. You can approach Speed Racer as the trippiest stonerfest since Stanley Kubrick took his space odyssey.
    • 67 Metascore
    • 50 Peter Travers
    Open Range copies the rain and flood of the Clint Eastwood classic but can't match it for dark-night-of-the-soul brilliance.
    • 53 Metascore
    • 50 Peter Travers
    Pretty cast. Potent premise. Piss-poor execution. And so dies In Time.
    • 46 Metascore
    • 50 Peter Travers
    You leave Red Tails thinking of what might have been instead of what is – a missed opportunity.
    • 58 Metascore
    • 40 Peter Travers
    Self-importance sinks this one like a stone.
    • Rolling Stone
    • 33 Metascore
    • 40 Peter Travers
    An erotic thriller with flaws.
    • 10 Metascore
    • 40 Peter Travers
    Peet does it with a twinkle, finding class among the crass.
    • Rolling Stone
    • 45 Metascore
    • 40 Peter Travers
    The comic screenplay...pivots on a toothless premise: Russ needs to get in touch with his inner child.
    • Rolling Stone
    • 54 Metascore
    • 40 Peter Travers
    For the 148 minutes it takes "The Messenger" to deliver its message, being John Malkovich or Milla Jovovich is really no fun at all.
    • Rolling Stone
    • 49 Metascore
    • 40 Peter Travers
    Director Elie Chouraqui, who co-wrote the script, catches the chaotic horror of war, but why bother if you're going to subjugate truth to the tear-jerking demands of soap opera?
    • 42 Metascore
    • 40 Peter Travers
    No dice...But no apologies are needed for Shannon--she earns her star spot.
    • Rolling Stone
    • 42 Metascore
    • 40 Peter Travers
    Quite a spectacle, but the movie falls flat.
    • Rolling Stone
    • 60 Metascore
    • 40 Peter Travers
    What started as cute becomes cloying and bloated. Charm should never feel like it weighs a ton.
    • 49 Metascore
    • 40 Peter Travers
    Alleged family fun.
    • 35 Metascore
    • 40 Peter Travers
    A product that will delight car junkies and drive cinephiles to swear off film until fall.
    • Rolling Stone
    • 46 Metascore
    • 40 Peter Travers
    Somehow, Lucille's plight is meant to comment astutely on the civil-rights movement. Now that IS crazy.
    • Rolling Stone
    • 46 Metascore
    • 40 Peter Travers
    Funny but perilously slight.
    • 48 Metascore
    • 40 Peter Travers
    Distressingly shallow.
    • Rolling Stone
    • 33 Metascore
    • 40 Peter Travers
    Hit-and-mostly-miss.
    • 25 Metascore
    • 40 Peter Travers
    Tries for deadpan laughs but is merely lifeless.
    • Rolling Stone
    • 37 Metascore
    • 40 Peter Travers
    Lawrence forgoes his knack for verbal comedy and replaces it with crude nonstop mugging.
    • 31 Metascore
    • 40 Peter Travers
    Ephron, try as she might, can't give her codified champagne spin to a Resnick script that all too quickly runs out of fizz.
    • Rolling Stone
    • 57 Metascore
    • 40 Peter Travers
    This new take on horror is more of the bloody same.
    • 32 Metascore
    • 40 Peter Travers
    (Shelton) knows how to write pungent dialogue that covers a multitude of sins when the film goes off the rails.
    • Rolling Stone
    • 38 Metascore
    • 40 Peter Travers
    The "Citizen Kane" of flatulence.
    • Rolling Stone
    • 45 Metascore
    • 40 Peter Travers
    Christensen is the only jolt of excitement in this turgid soap opera.
    • 49 Metascore
    • 40 Peter Travers
    Offers action in the Arnold Schwarzenegger style. Well, not right away.
    • Rolling Stone
    • 56 Metascore
    • 40 Peter Travers
    In story terms, Dinosaur lays an egg.
    • Rolling Stone
    • 45 Metascore
    • 40 Peter Travers
    Slim pickings.
    • Rolling Stone
    • 50 Metascore
    • 40 Peter Travers
    A sappy big-screen version of TV's "CSI."
    • 48 Metascore
    • 40 Peter Travers
    Shot five years ago by director Michael Ritchie. No release until now. Uh-oh. Disaster? Pretty much.
    • Rolling Stone
    • 49 Metascore
    • 40 Peter Travers
    Director Gregory Hoblit ("Primal Fear") is merely arranging cliches in new patterns until the surprise ending blows enough pro-military fervor up the audience's ass to make Colin Powell call a halt.
    • 56 Metascore
    • 40 Peter Travers
    Built on a slender, one-joke whimsy -- and a tough one to buy into, at that.
    • Rolling Stone
    • 61 Metascore
    • 40 Peter Travers
    Director Regis Warginer ("Indochine") lets his film degenerate into a turgid melodrama.
    • Rolling Stone
    • 46 Metascore
    • 40 Peter Travers
    Tyler, a true beauty, gives the role a valiant try, but her range is too limited to play this amalgam of female perfection.
    • 43 Metascore
    • 40 Peter Travers
    Plays like an unholy union of "The Natural" and "The Prince of Tides." Too bad...Build a movie as a shrine to baseball and they will come. Suckers!
    • Rolling Stone
    • 40 Metascore
    • 40 Peter Travers
    Director Mike Barber springs a twist ending that makes you sit up and stifle those yawns.
    • Rolling Stone
    • 48 Metascore
    • 40 Peter Travers
    Except for Ashley Judd, who shows true grit as Vivi in her babe days, the effect is like being buried in molasses. For guys whose pain threshold is way low when it comes to the bonding of Steel Magnolias, Ya-Ya is a definite no-no.
    • 44 Metascore
    • 40 Peter Travers
    The film has no soul. An epic about this day of infamy should shake you to the core. But the real infamy about Pearl Harbor is that when you exit, you don't feel a thing.
    • 40 Metascore
    • 40 Peter Travers
    It's refried comic beans that smell stale and smack of desperation.
    • 38 Metascore
    • 40 Peter Travers
    This black-comic assault on family entertainment is going to set a lot of teeth on edge -- If only his (De Vito's) material were better this time.
    • 49 Metascore
    • 40 Peter Travers
    Walken is so funny, he almost makes you forget this flick is one joke stretched thinner than Calista Flockhart.
    • 45 Metascore
    • 40 Peter Travers
    Abandon all hope of logic, you who enter here.
    • Rolling Stone
    • 37 Metascore
    • 40 Peter Travers
    The motor of the plot, involving nuclear terrorism, not only knocked Bad Company out of last year's release schedule due to 9/11 sensitivity, it stops Rock and Hopkins from sustaining a comic rapport. The waste is criminal.
    • 34 Metascore
    • 40 Peter Travers
    Just isn't enough.
    • Rolling Stone
    • 36 Metascore
    • 40 Peter Travers
    Cringingly earnest, totally unremarkable fable.
    • 33 Metascore
    • 40 Peter Travers
    Director Gary Fleder ("Don't Say a Word") pushes the same old cliches in "Blade Runner" packaging.
    • 42 Metascore
    • 40 Peter Travers
    Starting to feel sick? Just you wait.
    • Rolling Stone
    • 41 Metascore
    • 40 Peter Travers
    A promise unfulfilled.
    • Rolling Stone
    • 59 Metascore
    • 40 Peter Travers
    It's shocking, considering the talent involved, the The Perfect Storm looks and feels fake.
    • Rolling Stone
    • 35 Metascore
    • 40 Peter Travers
    Branagh's take on the play comes right up to the edge of disaster but stubbornly refuses to leap in.
    • Rolling Stone
    • 36 Metascore
    • 40 Peter Travers
    Does he (Hartley) succeed? Not with a movie this plodding, peevish and gimmicky. Is it fun to watch him try? Me, I'll take failed ambition over hack efficiency any day.
    • 40 Metascore
    • 40 Peter Travers
    Potter gets the period details right, but the film itself has long since flown off the rails, miring good intentions in rank soap opera.
    • 24 Metascore
    • 40 Peter Travers
    Verhoeven, who inflicted "Showgirls" on us, skips the provacative questions raised by invisibility and goes straight to rape and murder.
    • Rolling Stone
    • 37 Metascore
    • 38 Peter Travers
    Propaganda is a bitch to act. And this misguided movie leaves Hudgens buried in it.
    • 43 Metascore
    • 38 Peter Travers
    I laughed, then I wished it was funnier, then I just wished it would end.
    • 35 Metascore
    • 38 Peter Travers
    It's the Bay touch you feel in the way actors register as body count, characters go undeveloped, and sensation trumps feeling. A nightmare, indeed.
    • 47 Metascore
    • 38 Peter Travers
    Here's a true S&M date movie. Only sadistic men and masochistic women could love it.
    • 51 Metascore
    • 38 Peter Travers
    The infuriating cop–out ending reduces the premise to mush. I wanted to scream. Here goes: Arghh!
    • 36 Metascore
    • 38 Peter Travers
    The bad news isn’t that Carrey and Daniels got old, it's that the jokes did. The spirit is still willing in Peter and Bobby Farrelly, the original writer-directors, but the sagging flesh is weak from prolonged repetition.
    • 45 Metascore
    • 38 Peter Travers
    So why oh why is The Expendables such a limp-dick bust? Because Stallone forgets to include non-spazzy direction, a coherent plot, dialogue that actors can speak without cringing, stunts that don't fizzle, blood that isn't digital and an animating spirit that might convince us to give a damn.
    • 41 Metascore
    • 38 Peter Travers
    Morning sickness afflicts most of the potential mommies. For me, the movie itself triggered the vomiting.
    • 59 Metascore
    • 38 Peter Travers
    The movie, however, is a crock.
    • 44 Metascore
    • 38 Peter Travers
    This comedy about a death is a funeral for the audience.
    • 51 Metascore
    • 38 Peter Travers
    Me, I just think it blows. What does it matter if you spend millions on a movie - love the talking, battling bears! - if the effects are cheesy, the story runs off on tangents and after watching the movie fail utterly to be the next Lord of the Rings, you just want to go home.

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