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 The Tao of Steve
Lowest review score: 0 Transformers: Revenge of the Fallen
Score distribution:
2512 movie reviews
    • 32 Metascore
    • 38 Peter Travers
    Will Ferrell and Danny McBride can find the dumb fun in anything. Too bad that Land of the Lost is so much less than anything.
    • 45 Metascore
    • 38 Peter Travers
    The Americanized version is miscast, misguided and misbegotten.
    • 41 Metascore
    • 38 Peter Travers
    Blomkamp and his wife and co-writer, Terri Tatchell, stack the deck. Instead of awe, we get "E.T." - aww.
    • 38 Metascore
    • 38 Peter Travers
    If you laughed at Tim Story's first "Think," based on Steve Harvey's bestselling advice book for women, you'll probably ride along for this jacked-up, Vegas-set sequel in which dudes and dolls offer sexist approaches to throwing a bachelor party.
    • 52 Metascore
    • 38 Peter Travers
    Con Air has all the signs of a hit. That's depressing.
    • 37 Metascore
    • 38 Peter Travers
    Overthought, overwrought and thuddingly underwhelming, this high-profile misfire makes a congealed gumbo out of Robert Penn Warren's Pulitzer-winning 1946 novel and the Oscar-winning 1949 movie that followed it, sinking a classy cast in the goo.
    • 63 Metascore
    • 38 Peter Travers
    Even director Carl Franklin, an artful purveyor of sterner stuff in "One False Move" and "Devil in a Blue Dress," can't prevent One True Thing from descending into chick-movie hell.
    • 39 Metascore
    • 38 Peter Travers
    There's nothing to distract you from a plot so tired there are tire tracks from other racing movies all over it.
    • 50 Metascore
    • 38 Peter Travers
    I left this movie feeling I’d been had. And not in a good way.
    • 61 Metascore
    • 38 Peter Travers
    Veering between sentimentality and exploitation with a few misguided stops at raunchy sex farce, Reign Over Me never finds a tone to suit its purpose.
    • 48 Metascore
    • 38 Peter Travers
    How did talent like this conspire to pump out such bilge? I mean, really.
    • 58 Metascore
    • 38 Peter Travers
    It's not so bad that it's good. It's so bland that it's boring. Not even worth a hissss.
    • 34 Metascore
    • 38 Peter Travers
    Leslie Mann and wild-card Chris Hemsworth, as her cock-flashing hubby, get the heartiest hoots. The rest is comic history warmed over.
    • 43 Metascore
    • 38 Peter Travers
    Jammed with story threads that don’t cohere, Cirque commits the cardinal sin for a vampire movie: It’s bloodless.
    • 32 Metascore
    • 38 Peter Travers
    Don't hammer this film for trying to get inside the head of Mark David Chapman before he shot John Lennon outside the rock legend's New York apartment on December 8th, 1980. Hammer it instead for failing to do so with any depth or insight.
    • 48 Metascore
    • 38 Peter Travers
    Penelope is dead on arrival.
    • 43 Metascore
    • 38 Peter Travers
    Questions: Did everyone involved in this botched thriller OD on speed? Does jimmy-legs director D.J. Caruso think if he slowed down the action we'd figure out how stupid the plot is?
    • 48 Metascore
    • 38 Peter Travers
    Except for Kate Winslet's fearsome turn as a villain, the only terror Divergent roused in me was that the drag-ass thing would never end. Sorry, I'm a Candor.
    • 35 Metascore
    • 38 Peter Travers
    The Host basically comes down to a vote for Team Jared or Team Ian. I voted myself into oblivion about half an hour in. Niccol, who once added mystery and suspense to the sci-fi of 1997's "Gattaca," is no match for the giant marshmallow that is The Host.
    • 32 Metascore
    • 38 Peter Travers
    Political satire is so rare that it's a shame to watch the reliable Ralph Fiennes and Donald Sutherland lend their talents to one that is blind to its own incompetence.
    • 33 Metascore
    • 38 Peter Travers
    Looks aren't everything. Case in point: Sucker Punch, a dazzling visual design that goes tone-deaf every time it opens its dumb mouth or makes claims to profundity.
    • 48 Metascore
    • 38 Peter Travers
    Buffy isn't heinous, just disposable. As a friend tells Buffy while she eyes a fashion purchase, "It's so five minutes ago."
    • 43 Metascore
    • 38 Peter Travers
    A movie about death that stubbornly refuses to come to life.
    • 47 Metascore
    • 38 Peter Travers
    Director Brett Ratner could boast solid source material in the five-issue Radical Comics series Hercules: The Thracian Wars by the late Steve Moore. They had a shot at something here, and they blew it.
    • 45 Metascore
    • 38 Peter Travers
    Kasdan has inexplicably reduced flesh-and-blood characters to cartoons.
    • 43 Metascore
    • 38 Peter Travers
    The Vow is a sopping hankie of a romance for women who love to suffer and the men who love them.
    • 51 Metascore
    • 38 Peter Travers
    Sadly, what Parkland becomes is a crying shame.
    • 48 Metascore
    • 38 Peter Travers
    Satire in a blanket of bland.
    • 53 Metascore
    • 38 Peter Travers
    This big-screen Hamlet, pumped up to operatic scale by overkill director Franco Zeffirelli, exposes Gibson's shortcomings.
    • 51 Metascore
    • 38 Peter Travers
    A sappy-sweet romcom that seems to have been invaded by a screenwriter - one Geoff LaTulippe - with delusions that he's David Mamet.
    • 49 Metascore
    • 38 Peter Travers
    What's onscreen feels squeezed, truncated and curiously embalmed. It's got no kick to it.
    • 52 Metascore
    • 38 Peter Travers
    It's damn hard to enjoy a thriller when you don't, won't, can't believe a word of it.
    • 43 Metascore
    • 38 Peter Travers
    I found myself wishing that Taymor would turn off the sound and fury and let The Tempest speak for itself. My wish wasn't granted.
    • 34 Metascore
    • 38 Peter Travers
    It's not easy hanging talents like Ferrell and Hart out to dry. But Get Hard gets the job done. It's one limp noodle.
    • 58 Metascore
    • 38 Peter Travers
    Director Sydney Pollack zapped out a taut thriller in "Three Days of the Condor". But The Firm is mostly flab, in the manner of Pollack's elephantine Havana.
    • 50 Metascore
    • 38 Peter Travers
    A borrowed idea -- hello, "Blade Runner," hi there, "Matrix" -- but an idea nonetheless.
    • 42 Metascore
    • 38 Peter Travers
    The movie deserves a stake through the heart.
    • 46 Metascore
    • 38 Peter Travers
    What hurts is that filmmaker Mia Hansen-Love did it better just a few months ago in "Eden," about the French house movement since the 1990s. In this movie, James tells Cole the ideal EDM track would work up the heart-rate of the crowd to 128 beats-per-minute. We Are Your Friends never even gets us to break a sweat.
    • 47 Metascore
    • 38 Peter Travers
    Lowry took chances with her novel. The movie of The Giver takes none. It's safe, sorry and a crashing bore.
    • 49 Metascore
    • 38 Peter Travers
    It's not just that Jennifer Lopez looks lost and out of her league acting with Robert Redford and Morgan Freeman. That's to be expected. It's the drag-ass solemnity of this turgid family drama that makes you crazy.
    • 36 Metascore
    • 38 Peter Travers
    The compensation comes in the three lead actors, all way too good for the material dished out by writer-director Tom Gormican.
    • 49 Metascore
    • 38 Peter Travers
    Another January dud. Broken City drops hot-shot actors in a quicksand of clichés and watches them sink.
    • 43 Metascore
    • 38 Peter Travers
    There's nothing to keep the pulse alive after the first quake. Peyton throws in a second quake and a tsunami, but after a while buildings tumbling into the ocean are just a bunch of pixels turning everything into visual mush and leaving audiences in a digital stupor.
    • 42 Metascore
    • 38 Peter Travers
    The money shots of the living tableau are padded with jokes that feel embalmed before the actors get them out of their mouths.
    • 50 Metascore
    • 38 Peter Travers
    What the film lacks is suspense, surprise (the new ending is a dud) and passion.
    • 36 Metascore
    • 38 Peter Travers
    If you don't see where this is going, you've never seen a movie. Sorry it had to be this one.
    • 40 Metascore
    • 38 Peter Travers
    By the end, Vantage Point is such a unholy mess of drooling sentiment and sloppy loose ends that you’ll hate yourself for being suckered in.
    • 56 Metascore
    • 38 Peter Travers
    Jolie comes to this party ready to bite, but the movie muzzles her. Even at 97 minutes, Maleficent is still one long, laborious slog.
    • 30 Metascore
    • 38 Peter Travers
    What happened, bitches? Didn't the letdown of The Hangover Part II – basically Part I set in Thailand but minus the laughs – teach you anything? Guess not.
    • 36 Metascore
    • 38 Peter Travers
    Then there's the movie itself, which should be crazy, stupid fun but settles for just stupid.
    • 43 Metascore
    • 38 Peter Travers
    What have you done to The Wolfman, Hollywood? It’s got no kick to it. No fun either. And no real scares, which is more unforgivable.
    • 42 Metascore
    • 38 Peter Travers
    With that cast, we rightfully expect fireworks. What we get is the film equivalent of a wet blanket.
    • 66 Metascore
    • 38 Peter Travers
    The film wants to make a case for Parker as the first modern woman. It gets the look and the attitude right, but it can't find her heart.
    • 48 Metascore
    • 38 Peter Travers
    First-time filmmaker Kate Barker-Froyland trusts the silences that occur when two people aren't talking. That's a good thing. What's not so good is when the talk grows enervating.
    • 37 Metascore
    • 38 Peter Travers
    Working from a script by the gifted Christopher Hampton (Dangerous Liaisons, Atonement), who seems to have traded his wit for a paycheck, Fontaine manages the trick of making sex joyless. Like porn. Then she tops that by draining her film of variety, longing and feminist insight. Like farce. Ouch.
    • 60 Metascore
    • 38 Peter Travers
    What Dick rendered potent, Nolfi renders preposterous.
    • 44 Metascore
    • 38 Peter Travers
    Patrick Lussier is listed as The Director, though I saw no evidence of anyone in control.
    • 47 Metascore
    • 38 Peter Travers
    No trite, tear-jerking cliché goes undrooled in the script by director Kirk Jones.
    • 52 Metascore
    • 38 Peter Travers
    Offensive on multiple levels -- if only the plot had any levels at all -- Black Snake Moan leaves no "Tobacco Road" cliche unsmoked. Ricci gives it her all, and then some, but even her body and Jackson's blues can't heal a movie that rockets plum off its nut.
    • 49 Metascore
    • 38 Peter Travers
    Shopworn propaganda.
    • 30 Metascore
    • 38 Peter Travers
    This Endless Love is a photo shoot, not a movie. It'd play better as a slideshow of jpgs. Even nine-year-old girls ought to cry foul on this movie's endless blandness.
    • 57 Metascore
    • 38 Peter Travers
    This afternoon-TV special trying to pass as a real movie earns an extra half star solely for Samuel L. Jackson, who brings his usual fire to the role.
    • 32 Metascore
    • 38 Peter Travers
    First-time director and screenwriter Hue Rhodes shows no discernible talent for dialogue, humor and, especially, pacing.
    • 46 Metascore
    • 38 Peter Travers
    I've been told the movie plays best with very young girls. That's an insult very young girls should not be forced to endure.
    • 34 Metascore
    • 38 Peter Travers
    Jeez, did the "surprise" climax have to be this eye-rollingly stupid?
    • 53 Metascore
    • 38 Peter Travers
    Watching the stars try to out-cutesy the mutt is one for the puke bucket.
    • 44 Metascore
    • 38 Peter Travers
    Magicians have been pulling rabbits out of hats for ages. And yet, with all this talent, no one can make a decent script materialize.
    • 53 Metascore
    • 38 Peter Travers
    Is a Brian DePalma movie that laughs at Brian De Palma movies still worth your time?
    • 36 Metascore
    • 38 Peter Travers
    There's no thrill in Gone because you can see every surprise coming. It lies there flapping like a dying fish. Skip it.
    • 52 Metascore
    • 38 Peter Travers
    Though saddled with hoary jokes, Goldberg at least pumps some funky life into the bland proceedings.
    • 31 Metascore
    • 38 Peter Travers
    A trio of appealing actors is trapped in an action-spiked romcom death-sentenced by a lack of humor, heart and a coherent reason for being.
    • 44 Metascore
    • 30 Peter Travers
    Chockablock with things we're not supposed to notice: that Roberts is wasted; that she and Cusack have no characters to play, so it's virtually impossible to understand why she loves him or vice versa; that the script provides comedy without bite and romance without resonance.
    • 30 Metascore
    • 30 Peter Travers
    Off the shelf after two years to capitalize on the popularity of Vin Diesel, Seth Green and Barry Pepper. It should have stayed there.
    • 45 Metascore
    • 30 Peter Travers
    Slack direction fails to touch a nerve. Martin was scarier and funnier extracting Bill Murray's molars without Novocaine in "Little Shop of Horrors." Now that was one crazy dentist.
    • 34 Metascore
    • 30 Peter Travers
    What DePalma has never made is a dull movie. Until now.
    • Rolling Stone
    • 40 Metascore
    • 30 Peter Travers
    Judd is slumming again in ths lame suspense yarn that could barely pass as a TV quickie without the bankable names of Judd, Tommy Lee Jones and director Bruce Beresford.
    • Rolling Stone
    • 36 Metascore
    • 30 Peter Travers
    Crossing "A Beautiful Mind" with "Sex Kittens Go to College," first-time director Stephen Gaghan (he wrote Traffic) causes a head-on collision.
    • 40 Metascore
    • 30 Peter Travers
    There's a strong movie in this life, but writer-director Leon Ichaso ("Sugar Hill") hasn't found it.
    • 52 Metascore
    • 30 Peter Travers
    This mumbo-jumbo plays like The X Files on Prozac. No wonder the actors look narcotized.
    • 35 Metascore
    • 30 Peter Travers
    Something lazy, slow, shallow, stupid, amateurish, unfunny, unsuspenseful, uninformed, unspeakably dull and witlessly written, directed and acted (the special effects suck, too).
    • 18 Metascore
    • 30 Peter Travers
    For starters, it blows. Madonna continues to mistake a knack for striking poses with the interpretive skill of a real actor.
    • 33 Metascore
    • 30 Peter Travers
    Plods along in the Oscar-winning, yawn-inducing tradition of "Out of Africa," making me yearn for something less "National Geographic."
    • Rolling Stone
    • 28 Metascore
    • 30 Peter Travers
    Contrived, manipulative and shamelessly sentimental, this film is notable for the courageous reach of Sean Penn, who gives a bold, heartfelt performance.
    • 62 Metascore
    • 30 Peter Travers
    A fine case ... but none weighty enough to keep this fluff from evaporating as you watch it.
    • Rolling Stone
    • 36 Metascore
    • 30 Peter Travers
    It's sledgehammer whimsy, and it's not talking to me.
    • Rolling Stone
    • 48 Metascore
    • 30 Peter Travers
    For the first time, the Farrellys seem to be embarrassed by their own crudeness. For the first time, they should be.
    • 50 Metascore
    • 30 Peter Travers
    The true story of the LaMarcas, well told by the late Mike McAlary in Esquire, has been pounded into TV-crime mush by screenwriter Ken Hixon and director Michael Caton-Jones. Shockingly, the acting doesn't help.
    • 27 Metascore
    • 30 Peter Travers
    It's soft-core pap for horny boys and their hornier dads.
    • Rolling Stone
    • 41 Metascore
    • 30 Peter Travers
    Cruz is a dish, but her movie is as soggy and indigestible as Styrofoam.
    • Rolling Stone
    • 49 Metascore
    • 30 Peter Travers
    Makes you gag.
    • 38 Metascore
    • 30 Peter Travers
    Even a search party would be hard-pressed to find a spark between Harrison Ford and Kristin Scott Thomas in Pollack's latest tear-jerker.
    • Rolling Stone
    • 66 Metascore
    • 30 Peter Travers
    Good-natured fun when it isn't stale, which is most of the time, this talky comedy set in a Chicago barber shop is a sitcom pilot disguised as a movie.
    • 36 Metascore
    • 30 Peter Travers
    The kind of movie that TV stars do when they're on hiatus and trying to squeeze one in.
    • Rolling Stone
    • 65 Metascore
    • 30 Peter Travers
    Even with sex, drugs, hip-hop and a murder, these four stories are dull, dull, dull, dull.
    • Rolling Stone
    • 55 Metascore
    • 30 Peter Travers
    Despite melodramatic lapses -- the gripping action recalls Walter Hill's 1981 "Southern Comfort" -- this is Schumacher's most ambitions film since "Falling Down" in 1993, and it plays to his strengths with young actors.
    • Rolling Stone
    • 36 Metascore
    • 30 Peter Travers
    Trash.
    • Rolling Stone
    • 58 Metascore
    • 30 Peter Travers
    Rob Cohen, who last directed "The Skulls" --ouch! -- can consider this one another career-killing skid mark.
    • 40 Metascore
    • 30 Peter Travers
    The self-congratulatory histrionics of Williams, lower lip trembling as he triumphs over torture in the name of the human spirit, represents a trend in Hollywood to make accessible melodrama out of unspeakable tragedy.
    • Rolling Stone
    • 33 Metascore
    • 30 Peter Travers
    Slick-dick director Simon West, of "Con Air" and "The General's Daughter" infamy, continues to show no flair at all for blending action and character. Jolie and Lara deserved better. So did we.
    • 45 Metascore
    • 25 Peter Travers
    When a chick flick goes wrong -- and this one hits a dead end in hell -- it's a wipeout.
    • 34 Metascore
    • 25 Peter Travers
    Never comes as close as spitting distance to a laugh.
    • 45 Metascore
    • 25 Peter Travers
    A dreary film that's damn near torture to sit through.
    • 31 Metascore
    • 25 Peter Travers
    Environmentalists are up in arms. "Where did the shit go?" they want to know. The answer is painfully obvious: into the screenplay.
    • 39 Metascore
    • 25 Peter Travers
    The film is a sham, with good actors going for the paycheck and using beards and heavy makeup to hide their shame.
    • 46 Metascore
    • 25 Peter Travers
    There's no code to decipher. Da Vinci is a dud -- a dreary, droning, dull-witted adaptation of Dan Brown's religioso detective story.
    • 36 Metascore
    • 25 Peter Travers
    Guy flicks can be just as galling as the chick variety. Here's Exhibit A in how to lose an audience in ten minutes.
    • 40 Metascore
    • 25 Peter Travers
    This movie made my ears hurt. Raymond Chandler, Dashiell Hammett and James Ellroy could have turned this pulp into insinuating jazz. What's here is a cartoonish bore.
    • 39 Metascore
    • 25 Peter Travers
    Murphy looks comatose delivering the played-out poopy jokes.
    • 57 Metascore
    • 25 Peter Travers
    If you're gay and/or eight years old, HSM3 is the movie event of the year.
    • 44 Metascore
    • 25 Peter Travers
    How can a film look so radiant and be so hollow?
    • 50 Metascore
    • 25 Peter Travers
    The movie left me with the feeling of being trapped with a person of privilege who won't stop with the whine whine whine.
    • 30 Metascore
    • 25 Peter Travers
    Except for Connery, who is every inch the lion in winter, nothing here feels authentic.
    • 37 Metascore
    • 25 Peter Travers
    No comedy this year can beat this dud for mealy-mouthed hypocrisy.
    • 33 Metascore
    • 25 Peter Travers
    Despite the strong presence of Kick-Ass star Chloe Grace Moretz as Cassie, the movie is selling the same old YA yada yada yada that made phenoms of "Twilight" and "Divergent."
    • 27 Metascore
    • 25 Peter Travers
    It's a major dud.
    • 49 Metascore
    • 25 Peter Travers
    Beware 2012, which works the dubious miracle of almost matching "Transformers 2" for sheer, cynical, mind-numbing, time-wasting, money-draining, soul-sucking stupidity.
    • 30 Metascore
    • 25 Peter Travers
    It just plain sucks.
    • 41 Metascore
    • 25 Peter Travers
    Way to go, Battleship: Take the crassest of cynical junk, slather it in jingoism and sell it as rah-rah fun for right-wingers.
    • 42 Metascore
    • 25 Peter Travers
    This Parker spits in our collective eye. Don't blame us for spitting back.
    • 36 Metascore
    • 25 Peter Travers
    Critics and audiences should unite to KO this loser.
    • 47 Metascore
    • 25 Peter Travers
    Never achieves liftoff.
    • 43 Metascore
    • 25 Peter Travers
    Since the new Recall is totally witless, don't expect laughs. Originality and coherence are also notably MIA.
    • 51 Metascore
    • 25 Peter Travers
    This flabby comedy deserves only one thing: to fall on its fat one.
    • 41 Metascore
    • 25 Peter Travers
    Larry Crowne is more than a missed opportunity. It's alarmingly, depressingly out of touch.
    • 28 Metascore
    • 25 Peter Travers
    When a Spike Lee film doesn't fly, it sinks like a stone.
    • 47 Metascore
    • 25 Peter Travers
    It could have been the 21st-century Showgirls. I wouldn't have missed that for the world. Instead, Burlesque, starring Cher and Christina Aguilera playing drag queen versions of themselves with all the vitality of Madame Tussauds wax dolls, is a bust that lacks the pizzaz and bugfuck nuttiness of Paul Verhoeven's 1995 trash epic.
    • 39 Metascore
    • 25 Peter Travers
    It's not just hard to believe any of this, it's impossible. And director Jon Turteltaub (Phenomenom) directs with robotic cheerlessness.
    • 52 Metascore
    • 25 Peter Travers
    I can't believe that even the most rabid chick-flick masochists wouldn't gag on it.
    • 54 Metascore
    • 25 Peter Travers
    Strands Matt Damon and Casey Affleck (both named Gerry) in a desert with little to say and do except lose themselves in an existential wasteland of doomed beauty.
    • 30 Metascore
    • 25 Peter Travers
    Nothing can save this repetitive bore. Dude, where's your memory?
    • 24 Metascore
    • 25 Peter Travers
    Every scare is telegraphed. Every surprise is recycled from a better thriller. Even the devil would send this one back.
    • 41 Metascore
    • 25 Peter Travers
    A collection of moldy gags that director Tim Story tries to polish. Not with these turds, pal.
    • 43 Metascore
    • 25 Peter Travers
    As for the ladies who think any kind of chick flick is preferable to football, be careful what you wish for.
    • 42 Metascore
    • 25 Peter Travers
    Audiences with a brain cell left have only one choice: Look for the first exit on the right.
    • 36 Metascore
    • 25 Peter Travers
    Martin is a gifted physical comic. He deserves an original role tailored to his own talents. Watching something this borrowed just makes me blue.
    • 36 Metascore
    • 25 Peter Travers
    Pan
    Joe Wright's origin story of Peter and the lost boys has to be the dimmest, deadliest take ever on J.M. Barrie's Pan myth.
    • 33 Metascore
    • 25 Peter Travers
    It's the perfect Valentine's date night movie, but only with someone you hate.
    • 33 Metascore
    • 25 Peter Travers
    The young Smith has energy, but not the acting chops. And he's no miracle worker. The burden of carrying this dull, lifeless movie is just too much. And it's hell on an audience. It's not a good sign when you sit there thinking – Make. It. Stop.
    • 55 Metascore
    • 25 Peter Travers
    There may be worse movies this summer than The Great Gatsby, but there won't be a more crushing disappointment.
    • 43 Metascore
    • 25 Peter Travers
    I wanted Paquin, who deserves better than this, to call on her vampire pals from "True Blood" and yell, "sic em!" Oh wait, they're already bloodless.
    • 37 Metascore
    • 25 Peter Travers
    It's sad to see risk-taking director Mike Figgis (Leaving Las Vegas, Hotel) do a generic thriller for a paycheck and then not even screw with the rules.
    • 35 Metascore
    • 25 Peter Travers
    The real evil in this flick isn't Blackheart (Wes Bentley), the devil's son, it's the soul-sucking devil of modern cinema: Hollywood formula.
    • 38 Metascore
    • 25 Peter Travers
    Despite Joan Cusack, whose comic spark earns the film its only star, Raising Helen is like tumbling into chick-flick hell.
    • 35 Metascore
    • 25 Peter Travers
    Following "Derailed," this comic turd makes it two strikes for Jennifer Aniston. She looks great, but her acting is board-stiff.
    • 31 Metascore
    • 25 Peter Travers
    A dull, dumb and unforgivably dated thriller, free of thrills and any kind of perfection.
    • 48 Metascore
    • 25 Peter Travers
    Director Antoine Fuqua (Training Day) can stage action, but he can't save a trivializing, reactionary script featuring a Hollywood star (read America) as a global savior.
    • 52 Metascore
    • 25 Peter Travers
    The poster for this movie should read: Hello, Suckers!
    • 36 Metascore
    • 25 Peter Travers
    Righteous Kill, a.k.a. The Al and Bob Show, is a cop flick with all the drama of "Law and Order: AARP." This movie defines drag-ass.
    • 34 Metascore
    • 25 Peter Travers
    Demolition Man is sleek and empty as well as brutal and pointless.
    • 53 Metascore
    • 25 Peter Travers
    No go. Marshall deserved better than this misbegotten tribute.
    • 43 Metascore
    • 25 Peter Travers
    This third hunk of Pie is a worn-out gross-out, a remnant of a genre that now seems so five minutes ago.
    • 38 Metascore
    • 25 Peter Travers
    They are all victims of a script of such colossal banality and gross stupidity that smiles freeze on their faces, leaving them looking trapped and desperate, much like the audience.
    • 39 Metascore
    • 25 Peter Travers
    The Gunman degenerates into dreary setups for guns and gore. Penn merits more. So do we.
    • 42 Metascore
    • 25 Peter Travers
    You might think there's no downside to a movie that peeks up the skirts of babes in micro-minis, but writer-director Angela Robinson's dimwitted satire is libido-killing proof to the contrary.
    • 61 Metascore
    • 25 Peter Travers
    A clumsy package of clichés.
    • 23 Metascore
    • 25 Peter Travers
    Do you really need me to tell you how scary this horror show isn't?
    • 44 Metascore
    • 25 Peter Travers
    Is it the clumsy script or the switch in directors -- Beeban Kidron in for Sharon Maguire -- that has sucked out the charm of the original and replaced it with crude pratfalls and enough shag gags to stuff the next three Austin Powers movies?
    • 28 Metascore
    • 25 Peter Travers
    Ah jeez. I actually wanted this one to be good. Or at least decent. Or at least a reminder of what got us all fired up about the first Die Hard in 1988. But A Good Day To Die Hard, the fifth in a creatively exhausted series, is total crap.
    • 42 Metascore
    • 25 Peter Travers
    Has no vital signs at all, just crushing dull repetition that makes one noisy, violent scene play exactly like the last one.
    • 47 Metascore
    • 25 Peter Travers
    The most shocking thing here is the fact that Peter Chelsom directed it. His 1995 movie, "Funny Bones," is a genuinely transgressive piece of dark comedy. I can't detect a trace of Chelsom in Hannah Montana, which means he won't have to wear a blonde wig to hide his shame.
    • 17 Metascore
    • 25 Peter Travers
    I'm guessing it's the pressure of an idiot script by Gary Scott Thompson and understandably clueless direction from Jon Avnet that forces Pacino to ham it up so vigorously that you want to garnish him with cloves and a slice of pineapple.
    • 38 Metascore
    • 25 Peter Travers
    It's hard to deny that The Rite is guilty of sins against its audience.
    • 16 Metascore
    • 25 Peter Travers
    The 'roo doesn't talk, except in a dream sequence…I'm dying here.
    • 34 Metascore
    • 25 Peter Travers
    There's something pernicious about a toxic mix of sitcom and snickering sex jokes getting packaged and effectively sold as wholesome fun for the family.
    • 35 Metascore
    • 25 Peter Travers
    Here's a shrieking bore of a horror flick.
    • 36 Metascore
    • 25 Peter Travers
    I laughed once or twice during this flat and fatuous farce, mainly because director and co-writer Greg Coolidge lifted a lot of it from "Office Space."
    • 18 Metascore
    • 25 Peter Travers
    The only people likely to get a kick out of Gigli -- the first screen teaming of Ben Affleck and Jennifer Lopez -- are Madonna and her director hubby Guy Ritchie. Finally there's a movie as jaw-droppingly awful as their "Swept Away."
    • 66 Metascore
    • 25 Peter Travers
    A two-hour search for a pulse... A miscalculation from a prodigious talent who has forgotten that you squeeze the life out of romance when you don't give it space to breathe.
    • 39 Metascore
    • 25 Peter Travers
    Alexander breaks the key rule that makes movies move: Show, don't tell.
    • 35 Metascore
    • 25 Peter Travers
    Watching De Niro and Stallone piss all over their most iconic roles provides no pleasure. It made me feel – Sad. Sad. Sad.
    • 35 Metascore
    • 25 Peter Travers
    What I can’t figure out is how director Peter Hyams can remake a 1956 movie from the great Fritz Lang and not learn anything about suspense, pacing and storytelling in the process. This movie is beyond boring. You could stay warm for two hours by striking a match to the wooden acting.
    • 32 Metascore
    • 25 Peter Travers
    Aiming for the heartfelt hilarity of "Superbad," I Love You, Beth Cooper is just super bad.
    • 31 Metascore
    • 25 Peter Travers
    It's all stupefyingly unfunny. Hot Pursuit is one hot mess.
    • 45 Metascore
    • 25 Peter Travers
    There I sit, suffering total numbness of body and brain, no longer having to wonder what it might be like to be buried alive in gooey marshmallow.
    • 27 Metascore
    • 25 Peter Travers
    Upchuckingly unfunny.
    • 61 Metascore
    • 25 Peter Travers
    We're getting more of the same, but less of the impact, like weed from a bad dealer.
    • 46 Metascore
    • 25 Peter Travers
    Lacks the active verb it promises. It defines blah.
    • 61 Metascore
    • 25 Peter Travers
    The result is a failed and lifeless experiment in which everything goes wrong.
    • 42 Metascore
    • 25 Peter Travers
    To shine in a turd like this shows Brody has the stuff that -- damn the Oscar jinx -- makes an actor last.
    • 33 Metascore
    • 25 Peter Travers
    A comedy so devoid of wit and point that not mentioning the other actors trapped in this rathole would be an act of charity.
    • 36 Metascore
    • 25 Peter Travers
    The actors hit the jackpot, but only in terms of their paychecks. The audience gets a tension-free, tight-assed, "Casino" ripoff that leaves them thoroughly fleeced.
    • 44 Metascore
    • 25 Peter Travers
    Writer-director Angelina Jolie's attempt to emulate European art cinema is a slow, sodden, stupefyingly dull take on a 1970s marriage gone bad.
    • 47 Metascore
    • 25 Peter Travers
    Don't ask whether or not you should take The Day After Tomorrow seriously. Don't take it at all.
    • 45 Metascore
    • 25 Peter Travers
    Start hating me now, Twihards, but the sexless, bloodless, padded and plodding Breaking Dawn, Part 1 is the worst Twilight movie to date. (I don't get it either.)
    • 23 Metascore
    • 25 Peter Travers
    Diapers, even from three babies, can't stink worse than this.
    • 34 Metascore
    • 25 Peter Travers
    Film critics have been asked to say as little as possible about M. Night Shyamalan's new scare film about the perils of messing with Mother Nature. Fair enough. But I will say this: It's not happening.
    • 53 Metascore
    • 25 Peter Travers
    I have the same allergic reaction to this open faucet of tear-jerking swill as I do to the 1996 Nicholas Sparks novel that inspired it.
    • 23 Metascore
    • 25 Peter Travers
    I'd prefer to think of Sandler in "Punch-Drunk Love," the one good movie of the three he did this year.
    • 47 Metascore
    • 25 Peter Travers
    Build a comedy around Jim Carrey in manic mode and they will come. Case in point: Fun With Dick and Jane, a pointless, painfully unfunny and yet inexplicably popular remake of the 1977 fizzle with Jane Fonda and George Segal.
    • 42 Metascore
    • 25 Peter Travers
    Except for a rare scene of shaggy charm, nothing works. Nothing.
    • 31 Metascore
    • 25 Peter Travers
    This is Berg's debut outing as a director, but other first-timers, namely Joel Coen (Blood Simple) and Danny Boyle (Shallow Grave), had it all over him for blending horror and hilarity.
    • 49 Metascore
    • 25 Peter Travers
    Director Michael Hoffman sprays on the tears like a toxic mist. Avoid like the plague.
    • 46 Metascore
    • 25 Peter Travers
    The true audiences for Fifty Shades of Grey are gluttons for punishment — by boredom.
    • 43 Metascore
    • 25 Peter Travers
    Not since Gus Van Sant inexplicably directed a shot-by-shot remake of Hitchcock's "Psycho" has a thriller been copied with so little point or impact.
    • 27 Metascore
    • 25 Peter Travers
    Yikes! I saw Pixels as a 3D metaphor for Hollywood's digital assault on our eyes and brains. Not funny. Just relentless and exhausting.
    • 46 Metascore
    • 25 Peter Travers
    Yikes! Chris Renaud and Kyle Balda direct strictly for short-attention spans on a fruit-loopy palette that made me want to puke. Had Dr. Seuss lived (he died in 1991), I'm confident he would have puked as well.
    • 40 Metascore
    • 25 Peter Travers
    It could have been crazy-good trash.
    • 38 Metascore
    • 25 Peter Travers
    This movie really moves. But a fleet of tanks couldn’t help the brothers Dowdle push past the plot holes in this rancid mess.
    • 36 Metascore
    • 25 Peter Travers
    Stephen Rodrick's New York Times article about the making of The Canyons had humor, suspense and propulsion. They should have made that movie. What we have here is dead on arrival.
    • 38 Metascore
    • 25 Peter Travers
    A movie utterly devoid of wit , excitement and any reason for being.
    • 47 Metascore
    • 25 Peter Travers
    This movie isn't over-the-top -- it doesn't know where the top is. Trash addicts will eat up every graphic minute, even if they prefer to wait for the DVD.
    • 37 Metascore
    • 25 Peter Travers
    There’s not a real or spontaneous minute in it.
    • 33 Metascore
    • 25 Peter Travers
    Jonah is fated to ride alone. Don't make the mistake of keeping him company.
    • 36 Metascore
    • 25 Peter Travers
    Audiences forced to endure the 109 coma-inducing minutes of Serena should bring an e-book or a soft pillow.
    • 33 Metascore
    • 25 Peter Travers
    Result? It's not scary, just busy.
    • 35 Metascore
    • 25 Peter Travers
    The Expendables 3, trading on our affection for action stars of the past, has officially worn out its already shaky welcome.
    • 36 Metascore
    • 25 Peter Travers
    Here's a comedy of punishing tedium that pretends to be hip when it's so five minutes ago.
    • 48 Metascore
    • 25 Peter Travers
    Something cold and mechanical has seeped into the sequel. The divas push so hard for fun, it kills the spontaneity that fun needs to breathe.
    • 45 Metascore
    • 25 Peter Travers
    "Irritating" doesn't begin to describe Julia Roberts as Katherine, an art-history prof who arrives at Wellesley in 1953.
    • 36 Metascore
    • 25 Peter Travers
    Feels fake, forced and indigestible.
    • 30 Metascore
    • 25 Peter Travers
    "Sixth Sense" rip-off.
    • 45 Metascore
    • 25 Peter Travers
    The perfect summer movie, that is if you're eight years old or under. For the rest of us, the sequel to the first "Fantastic Four" that miraculously amassed more than $150 million in 2005, is a plotless, brainless, witless bore.
    • 42 Metascore
    • 25 Peter Travers
    "Your incompetence is most taxing," says the chief vampire (Bill Nighy). A line that pretty much nails this rusty Blade.
    • 44 Metascore
    • 25 Peter Travers
    Delivery Man is one joke stretched to the breaking point. Mine was reached.
    • 43 Metascore
    • 25 Peter Travers
    The title of this limp retread of "Minority Report" -- both films are based on stories by Philip K. Dick -- presumably refers to the reason the big names involved did this movie.
    • 56 Metascore
    • 25 Peter Travers
    Max
    "You're an awfully hard man to like, Hitler." Few serious films could survive a line like that. Max certainly doesn't.
    • 58 Metascore
    • 25 Peter Travers
    Grating.
    • 32 Metascore
    • 25 Peter Travers
    It galls me that Hollywood thinks we're shallow enough to swallow this swill. Or am I just being paranoid?
    • 28 Metascore
    • 25 Peter Travers
    The real plague is the movie, a sci-fi hodgepodge of bad history and worse special effects.
    • 40 Metascore
    • 25 Peter Travers
    This kind of pandering FX padding, unnurtured by humor or heart, is what shifts Jupiter Ascending from a shambles to a fiasco. In an effort to win back audiences by lowering their standards and their daring, the Wachowskis wind up where you never expected to find them creatively: on the ropes.
    • 47 Metascore
    • 25 Peter Travers
    Director Luke Greenfield, the auteur behind "The Animal," starring Rob Schneider, wants to pass off this limp-dick farce as social satire. Ha!
    • 45 Metascore
    • 25 Peter Travers
    This lame-ass chick-flick sampling of "Crazy Heart" is more like country Kryptonite.
    • 54 Metascore
    • 25 Peter Travers
    Estevez means well. But having your heart in the right place is no excuse for insipid ineptitude.
    • 33 Metascore
    • 25 Peter Travers
    At one point, Black puts out a fire by pissing on it. It's my job as a critic to piss on this dumb excuse for a movie. Consider it done.
    • 40 Metascore
    • 25 Peter Travers
    This spark-free film has no place to go on their resumes except under the heading of "Cringing Embarrassment."
    • 39 Metascore
    • 25 Peter Travers
    Hal claims that a Lantern's only enemy is fear itself. The thought of a sequel to this shamelessly soulless Hollywood product scares me plenty.
    • 33 Metascore
    • 25 Peter Travers
    The shortage of wit and the excess of goo can be summed up in Sandler's line to these children of divorce: "I'm like the stink on your feet — I'll always be there."
    • 42 Metascore
    • 25 Peter Travers
    The movie ultimately reveals itself as a pretender with no balls. Creatively, it's all wet.
    • 48 Metascore
    • 25 Peter Travers
    The movie plays like an evangelical prayer meeting, though I'd hold the hallelujahs. The characters we came to admire as vulnerable misfits hit the stage like visiting royalty and with a nonstop perkiness that makes the Von Trapps look like manic-depressives.
    • 37 Metascore
    • 25 Peter Travers
    Some bad movies should carry a leper's bell to warn off ticket buyers. Such a contagion is Charlie St. Cloud, a load of mawkish swill starring Zac Efron (bereft of the talent he showed in "Me and Orson Welles").
    • 43 Metascore
    • 25 Peter Travers
    Roth takes three powerhouse actors -- Julianne Moore as the mother, Samuel L. Jackson as the cop who interrogates her and Edie Falco as another woman who lost her son -- and reduces their talents to rubble and their characters to screeching cliches.
    • 50 Metascore
    • 25 Peter Travers
    The cheap thrills wear off way fast, and we're left with atrocious acting, feeble writing and clueless directing (from first-timer Steven Quale). The horror! The horror!
    • 55 Metascore
    • 25 Peter Travers
    Even Cate Blanchett can't save this misbegotten horse opera.
    • 38 Metascore
    • 25 Peter Travers
    Preacher Reitman won't be satisfied till we stomp our smartphones. LOL. WTF.
    • 68 Metascore
    • 25 Peter Travers
    A triumph for the machines, more proof that we do indeed live in the Matrix.
    • 34 Metascore
    • 25 Peter Travers
    Valentine's Day is a date movie from hell.
    • 19 Metascore
    • 25 Peter Travers
    Talk about your quick-buck exploitation.
    • 46 Metascore
    • 25 Peter Travers
    Oh, how good actors can trap themselves in drivel.
    • 46 Metascore
    • 25 Peter Travers
    Nothing the skunk does can begin to match the stench of this movie.
    • 29 Metascore
    • 25 Peter Travers
    Even wild man Gary Oldman, as a priest ready to eighty-six the wolfman with silver nail polish, can't liven up this humorless hogwash. And it's just sad to see the legendary Julie Christie stuck playing the grandmother.
    • 40 Metascore
    • 25 Peter Travers
    We also learn that five of his books, written in secret, will be published between 2015 and 2020. Can't wait to read them. Can't wait to forget this movie.
    • 33 Metascore
    • 25 Peter Travers
    The movie that might have been goes down in flames.
    • 26 Metascore
    • 25 Peter Travers
    An irredeemably dull tale.
    • 34 Metascore
    • 25 Peter Travers
    Call it "Apocalypto" for pussies -- a PG-13 rating, puh-leese! -- or prehistory for peabrains. Just don’t call it friendo. 10,000 B.C. will take your money, rob your time and hit your brain like a shot of Novacaine.
    • 27 Metascore
    • 25 Peter Travers
    Not to be catty about it, but the stench of the litter pan is all over this big-screen $90 million disaster-in-waiting.
    • 29 Metascore
    • 25 Peter Travers
    This crap is supposed to be the chick flick antidote to Super Bowl fever. Ha!
    • 48 Metascore
    • 25 Peter Travers
    Director Burr Steers, of the terrific "Igby Goes Down," is stuck polishing clichès.
    • 45 Metascore
    • 25 Peter Travers
    It's a lame trailer, but the movie itself is much, much worse.
    • 25 Metascore
    • 25 Peter Travers
    It's probably the movie event of the summer if you're an eight-year-old girl who doesn't get out much.
    • 48 Metascore
    • 25 Peter Travers
    A romantic comedy so numbing it feels like Novocaine.
    • 47 Metascore
    • 25 Peter Travers
    There's a difference between exposing misogyny and crassly exploiting it.
    • 36 Metascore
    • 25 Peter Travers
    It's a little early for self-parody in the career of Vin Diesel. But he's a calamitous cliché in A Man Apart.
    • 37 Metascore
    • 25 Peter Travers
    Here's Madge one more time doing something for which she is eminently unsuited – directing.
    • 38 Metascore
    • 25 Peter Travers
    If you can buy the pillow-lipped Angelina Jolie as a psychic FBI agent in Montreal to hunt a serial killer, then you can swallow the other implausibilities in this retread thriller.
    • 37 Metascore
    • 25 Peter Travers
    You know a sequel isn't working when, ten minutes into the movie, a voice inside your head starts screaming, "Please make it stop!"
    • 46 Metascore
    • 25 Peter Travers
    Cage and Baruchel work hard to stay accessible, but the computer-generated effects come on like heavy artillery blowing away any hint of flesh and blood. The Sorcerer's Apprentice should be rated U for Untouched by Human Hands.
    • 22 Metascore
    • 25 Peter Travers
    Sorry, no XOXO for this slick, hollow hooey.
    • 42 Metascore
    • 25 Peter Travers
    All I can cull is: don't mess with Mother Nature and absolute power corrupts absolutely. Fortune-cookie stuff. Erase All.
    • 48 Metascore
    • 25 Peter Travers
    I can't detect the hand of Hill in even a single scene in Bullet in the Head. It plays like a Stallone vanity project, impure and stupefyingly simple.
    • 36 Metascore
    • 25 Peter Travers
    Gordon, who died shortly after the first Arthur, never had to see the luckless 1988 sequel that made his beloved characters seem like strangers. The new Arthur, insipid when it should be infectious, leaves the same deadly impression.
    • 23 Metascore
    • 25 Peter Travers
    The cast got to spend a month shooting on Bora Bora. So that explains why they're in the movie. Why you'd spend good money for a ticket to watch them have all the fun and not have any fun yourself passes understanding.
    • 27 Metascore
    • 25 Peter Travers
    If you ever admired Julia Stiles, Selma Blair and Jason Lee -- and who didn't? -- don't watch them crush their careers in this laugh-free romantic comedy.
    • 37 Metascore
    • 25 Peter Travers
    Here they're just putting "Pirates of the Caribbean" in a saddle and pretending we won't notice.
    • 48 Metascore
    • 25 Peter Travers
    Is there an audience for this? Sadly, yes. There’s nothing wrong with a movie that cheers American heroes. But this one does so by reducing everything else to cardboard.
    • 31 Metascore
    • 25 Peter Travers
    If you stay and watch the endless end credits, there's a short scene that hints a sequel is coming. That's what I call real pain.
    • 31 Metascore
    • 25 Peter Travers
    Nothing works. Nothing.
    • 19 Metascore
    • 25 Peter Travers
    The jokes? "Chicks are for fags," says Lloyd. The film is subtitled When Harry Met Lloyd. Believe me, you don't want to be there.
    • 43 Metascore
    • 25 Peter Travers
    Murphy, teaming again with his "Norbit" director Brian Robbins, is assuming we'll all line up for lazyass toilet jokes and pay for the privilege. Prove him wrong, people, please.
    • 45 Metascore
    • 25 Peter Travers
    Can no one save the talented Sandler from himself? I hate this movie. Click. I hate this movie. Click. I hate this movie. Click.
    • 47 Metascore
    • 25 Peter Travers
    I'd watch the vibrant Rachel McAdams and Eric Bana in anything, but The Time Traveler's Wife is pushing it.
    • 31 Metascore
    • 25 Peter Travers
    It's too bad Martin already made “What's the Worst That Could Happen?” The title really fits this one.
    • 37 Metascore
    • 25 Peter Travers
    It's Carell who projects the movie's only sense of mischief. But it's too little and too late.
    • 37 Metascore
    • 25 Peter Travers
    This feeble followup to 2010's godawful "Clash of the Titans" sucketh the mighty big one.
    • 44 Metascore
    • 25 Peter Travers
    Take a tired formula...Stir with a director, Florent Siri, who has no shame about stealing every sadistic suspense trick from the Die Hard series. Serve to a gullible audience willing to pay top dollar for secondhand goods.
    • 38 Metascore
    • 25 Peter Travers
    Stupefyingly stupid thriller.
    • 54 Metascore
    • 25 Peter Travers
    What a bold notion for a movie, and what a bust in terms of execution.
    • 41 Metascore
    • 25 Peter Travers
    Could 1960s-style sex, drugs and rock & roll really have been this dull?
    • 31 Metascore
    • 25 Peter Travers
    The new Mummy is, how can I put it? Just freakin' awful.
    • 41 Metascore
    • 25 Peter Travers
    An appallingly clumsy and stupid take on drugs, kidnapping and suicide in suburbia.
    • 46 Metascore
    • 25 Peter Travers
    The F&F franchise ran out of gas half way into the 2001 original.
    • 23 Metascore
    • 25 Peter Travers
    Bad things can happen to talented people. Take Tom McCarthy, who wrote and directed "The Station Agent," "The Visitor" and "Win Win." All gems. His fourth film, The Cobbler, is a failure on every level.
    • 46 Metascore
    • 25 Peter Travers
    It's getting harder to sustain a rooting interest in the career of Johnny Knoxville.
    • 35 Metascore
    • 25 Peter Travers
    Talk about disappointing. Director Doug Liman exuded style and cool in "Swingers," "Go" and "The Bourne Identity." He lost his way in the star bloat of "Mr. and Mrs. Smith," and now his mojo is buried in this amped-up sci-fi chase flick.
    • 41 Metascore
    • 25 Peter Travers
    Purists, be warned: This scare-flick quickie has as much relation to the 1953 Vincent Price classic with the same title as Paris Hilton does to acting.
    • 27 Metascore
    • 25 Peter Travers
    It's a no-go. View From the Top boasts a first-class cast, but they're all traveling coach.
    • 30 Metascore
    • 25 Peter Travers
    I like Longoria Parker on "Desperate Housewives" and truly believe she could have a career on the big screen if she promises to never again work with writer-director Jeff Lowell, who perpetrated this offense of a ghost comedy on her and on her otherwise gifted co-stars Paul Rudd and Lake Bell.
    • 30 Metascore
    • 25 Peter Travers
    What the filmmakers fail to recognize is that history on the page is quite different from what it needs to be onscreen, namely alive and visceral.
    • 54 Metascore
    • 25 Peter Travers
    Whitney Houston deserved better than to go out onscreen with this botch job remake of a 1976 soap opera that never deserved another thought.
    • 45 Metascore
    • 25 Peter Travers
    What Murphy's doing isn't acting; it's masturbation.
    • 47 Metascore
    • 25 Peter Travers
    What's left is a lot of strenuous playacting when what's called for is the finesse of the Japanese original. Skip this stub-toed substitute.
    • 34 Metascore
    • 25 Peter Travers
    Breathlessly boring.
    • 40 Metascore
    • 25 Peter Travers
    The brooding RPatz doesn’t bite. But his movie does.
    • 42 Metascore
    • 25 Peter Travers
    A cheerless and unappetizing plate of piffle that deserves to be smashed against a wall or at least sent back to the kitchen.
    • 40 Metascore
    • 25 Peter Travers
    I don't know what to make of Act of Valor. It's like reviewing a recruiting poster.
    • 40 Metascore
    • 25 Peter Travers
    The shopworn script by Pablo F. Fenjves, who ghost-wrote the unpublished O.J. Simpson book, If I Did It: The Confessions of the Killer, gets no help from director Asger Leth (Ghosts of Cite Soleil).
    • 39 Metascore
    • 25 Peter Travers
    Is it the worst of the seven screen Sparks so far? Nope. My vote still goes to 2009's "The Last Song" with Miley Cyrus mothering those unhatched turtle eggs. But it's still pretty damn insufferable.
    • 56 Metascore
    • 20 Peter Travers
    CQ
    Writer-director Roman Coppola is trying to capture a time he's too young to remember, when the French New Wave reinvigorated film art.
    • 52 Metascore
    • 20 Peter Travers
    Overheated, underdone farce. Race for the exit.
    • 25 Metascore
    • 20 Peter Travers
    Say the word, girl (Lopez), the next time you're offered one of these barrel scrapers: Enough!
    • 38 Metascore
    • 20 Peter Travers
    Where's Sandler in all this? Lost in gimmicks that smack of desperation. Damn it.
    • Rolling Stone

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