Rene Rodriguez

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For 1,760 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Rene Rodriguez's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 About Schmidt
Lowest review score: 0 The Watcher
Score distribution:
1760 movie reviews
    • 34 Metascore
    • 50 Rene Rodriguez
    Year One is not really THAT bad and not ENTIRELY without laughs.
    • 55 Metascore
    • 50 Rene Rodriguez
    It's a perfect role for Jolie, whose seductive looks always seem to be concealing something dangerous, even predatory, and she brings out a looseness in Pitt, who fares much better in comedic roles than when playing things straight and stoic (i.e. Troy).
    • 34 Metascore
    • 50 Rene Rodriguez
    When Ephron gives Ferrell and Kidman a musical number that's supposed to be sweet and uplifting, the movie feels downright creepy.
    • 51 Metascore
    • 50 Rene Rodriguez
    The movie is sloppy and scattershot, and proud of it. It wears its slipshod, anything-for-a-laugh structure like a badge of honor: Smith is nothing if not self-deprecating.
    • 63 Metascore
    • 50 Rene Rodriguez
    Six years after its release, "City of God" is still electrifying and fresh: It hasn't aged a bit. City of Men, though, already feels strangely stale.
    • 75 Metascore
    • 50 Rene Rodriguez
    It's much easier to linger on his youthful idealism than on how that idealism eventually manifested itself. It certainly makes for a much prettier picture. But when your subject is Ernesto ''Che'' Guevara, it is disingenuous.
    • 49 Metascore
    • 50 Rene Rodriguez
    A psychological thriller in serious need of both psychology and thrills, Cassandra's Dream is a wan, exceedingly minor drama by Woody Allen, who has started to recycle himself in London the way he had long been recycling his New York City pictures.
    • 24 Metascore
    • 50 Rene Rodriguez
    Turns resoundingly dumb in its last 40 minutes.
    • Miami Herald
    • 49 Metascore
    • 50 Rene Rodriguez
    Suffers from a fatal lack of purpose. This sleek, visually inventive but frustratingly flat movie is made up entirely of throwaway bits -- occasionally amusing, even ingenious bits. But still, they're just bits.
    • 70 Metascore
    • 50 Rene Rodriguez
    Certainly pleasant, and occasionally endearing, but it's also strangely empty and unsatisfying, like hearing about someone else's wild dream: You can appreciate the details, but you don't really care how it turns out.
    • 65 Metascore
    • 50 Rene Rodriguez
    Great actors can do more than carry a movie on the strength of their performances: They can also elevate it to a height it does not necessarily merit, and for much of In the Valley of Elah, Tommy Lee Jones does exactly that.
    • 64 Metascore
    • 50 Rene Rodriguez
    Like binging on a bottomless box of truffles: Tastes good and sweet at first, but after a while, you start feeling a little green.
    • Miami Herald
    • 57 Metascore
    • 50 Rene Rodriguez
    Emotes mightily but says precious little.
    • 55 Metascore
    • 50 Rene Rodriguez
    Aside from the thin characterizations, The Eagle never manages to convey the importance of the heroes' quest.
    • 56 Metascore
    • 50 Rene Rodriguez
    Bottle Shock often feels out of place on the big screen, but it would probably play a lot better as a weekly half-hour TV show.
    • 51 Metascore
    • 50 Rene Rodriguez
    The Brothers Grimm gives you plenty to look at, but it's not much to see.
    • 55 Metascore
    • 50 Rene Rodriguez
    A continuous parade of slaughter.
    • 58 Metascore
    • 50 Rene Rodriguez
    The movie is an exceedingly slight tale whose entire second half consists primarily of special effects and wonderful set designs.
    • 82 Metascore
    • 50 Rene Rodriguez
    An artsy bore.
    • 43 Metascore
    • 50 Rene Rodriguez
    Although the picture is nominally the story of a man with a murderous temper, it is less a thriller than a metaphor for the plight of illegal immigrants.
    • 46 Metascore
    • 50 Rene Rodriguez
    This laborious, talky, fleetingly engaging, ultimately silly picture is about as good a movie as anyone was ever going to wring from Dan Brown's inescapable bestseller.
    • 47 Metascore
    • 50 Rene Rodriguez
    You can only string an audience along for so long with scary masks and sudden appearances at the window, and after a while, the suspense starts seeping out of The Strangers, because you realize that's all there's going to be to the movie.
    • 66 Metascore
    • 50 Rene Rodriguez
    Evans – always a reliably dynamic and vivacious screen presence – can't do much to bring the character to life. As far as superheroes go, Cap remains a bit of a stiff.
    • 77 Metascore
    • 50 Rene Rodriguez
    While We’re Young starts off as an empathetic, funny look at middle age and winds up as profound and schematic as a Neil Simon play — or, for the younger set, an episode of "The New Girl."
    • 51 Metascore
    • 50 Rene Rodriguez
    The Fountain is probably too muddled and half-baked to even attain cult status -- but you can still see what writer-director Darren Aronofsky was striving for, and even if his reach exceeded his grasp, his intentions were both admirable and worthy of respect.
    • 62 Metascore
    • 50 Rene Rodriguez
    Where the book was preciously and carefully crafted, the movie just feels precious.
    • 55 Metascore
    • 50 Rene Rodriguez
    After a funny, highly promising start, Don't Come Knocking starts to fall apart, displaying all of Wenders' weaknesses, too.
    • 63 Metascore
    • 50 Rene Rodriguez
    The movie is pleasant overall and occasionally comes up with a big laugh. When the movie's over, though, it evaporates from memory, just like a one-night stand that didn't go nearly as well as you'd hoped.
    • 61 Metascore
    • 50 Rene Rodriguez
    The Good Shepherd, for all its noble intentions, manages to make even espionage boring.
    • 68 Metascore
    • 50 Rene Rodriguez
    James Franco looks more bored and distracted in Rise of the Planet of the Apes than he did when he was hosting the Oscars: Watching the movie, I kept waiting for him to pull out his iPhone, aim it at the camera and take a snapshot while mugging sheepishly. Has there ever been a film with a less engaged protagonist?
    • 54 Metascore
    • 50 Rene Rodriguez
    The movie wants to be an exploration of family ties and the various ways in which the people we love respond in times of crisis, but the drama is unconvincing, the characters are ill-defined, and Fischer, so good on The Office, seems a bit incomplete without Jim at her side.
    • 49 Metascore
    • 50 Rene Rodriguez
    Fascinating in concept but a disaster in execution.
    • 58 Metascore
    • 50 Rene Rodriguez
    Stone isn't the straightforward thriller it appears to be, but the alternative turns out to be dull and lifeless. At least the title is apt: Like a rock, Stone has no pulse.
    • 43 Metascore
    • 50 Rene Rodriguez
    A pastiche so derivative and pointless, it leaves you wishing Allen had not bothered.
    • 56 Metascore
    • 50 Rene Rodriguez
    Starts out feeling formidable in scope and theme but ends up awfully small and precious.
    • 49 Metascore
    • 50 Rene Rodriguez
    The last 40 minutes test your patience -- and intelligence -- in a way the rest of this big, dumb, crazy movie never does:
    • 58 Metascore
    • 50 Rene Rodriguez
    The movie is intentionally elusive, like a memory you can’t quite fully recall, but the result has all the depth and weight of a greeting card.
    • 62 Metascore
    • 50 Rene Rodriguez
    Suffers from an episodic script and an overly long running time plagued by too many dull, laugh-free patches.
    • 30 Metascore
    • 50 Rene Rodriguez
    Here, finally, is a superhero movie your AP English teacher can enjoy.
    • 67 Metascore
    • 50 Rene Rodriguez
    There's a fine little western lurking inside Open Range: Too bad it gets drowned out by director Kevin Costner's pretentiousness. Almost everything in the movie feels inflated, overblown, drawn out.
    • 27 Metascore
    • 50 Rene Rodriguez
    Hugh Grant and Sarah Jessica Parker are supposed to pass for a married couple, but they have all the chemistry of two actors who just met and shook hands moments before the cameras rolled. They don't even seem to like each other much.
    • 69 Metascore
    • 50 Rene Rodriguez
    The Avengers has a knockout final 30 minutes, all gee-whiz crash and bang and eye candy that makes grand use of 3D and IMAX and all the other toys. But the Transformers movies did that, too.
    • 56 Metascore
    • 50 Rene Rodriguez
    If nothing else, the movie proves even the rich and famous make boring home videos.
    • Miami Herald
    • 74 Metascore
    • 50 Rene Rodriguez
    The result is earnest, admirable and more than a little dull -- a pedestrian movie about a remarkable subject.
    • 52 Metascore
    • 50 Rene Rodriguez
    A facile treatment of a complicated subject.
    • Miami Herald
    • 42 Metascore
    • 50 Rene Rodriguez
    Most of Wells' details are there, and so is the basic premise, but the soul of the thing -- the point -- is missing.
    • 68 Metascore
    • 50 Rene Rodriguez
    John Wick reminds you this actor deserves better. Reeves makes the movie entertaining in a background-noise way, but he can’t give it any gravity, even when the filmmakers pull the cheapest trick in the book to get the audience to root for the hero and hiss at the Eurotrash villains. Someone get this man some good work, quick.
    • 58 Metascore
    • 50 Rene Rodriguez
    The only thing the movie lacks is a pulse.
    • 60 Metascore
    • 50 Rene Rodriguez
    Notorious excels at showcasing Wallace's music and his magnetism as a performer: It fares less well at giving that music a proper context.
    • 42 Metascore
    • 50 Rene Rodriguez
    Oh, what a hollow experience Dark of the Moon is! Bay is so afraid of boring his audience, he pitches every scene at the same high volume right from the first shot, and the effect is exhausting.
    • 70 Metascore
    • 50 Rene Rodriguez
    A relentless descent into a psychedelic hell, a rambunctious feel-bad epic.
    • Miami Herald
    • 49 Metascore
    • 50 Rene Rodriguez
    This might have been OK for cable, but as a night out at the movies, it feels like a bit of a cheat.
    • 65 Metascore
    • 50 Rene Rodriguez
    The Runaways ultimately feels too lethargic and conventional for the wild story it tells.
    • 67 Metascore
    • 50 Rene Rodriguez
    Jarmusch has never seemed quite this baffling -- or quite this dull.
    • Miami Herald
    • 36 Metascore
    • 50 Rene Rodriguez
    Too much of this well-acted but dangerously slow thriller feels like a preamble to a bigger, more complicated story, one that never materializes.
    • 57 Metascore
    • 50 Rene Rodriguez
    Someone apparently forgot to tell Harrison Ford he was starring in a comedy when he was cast in Morning Glory.
    • 51 Metascore
    • 50 Rene Rodriguez
    The Golden Compass comes close, and its originality cannot be denied, but it never quite crosses over into your heart. It stops at your eyes.
    • 25 Metascore
    • 50 Rene Rodriguez
    Has a made-for-TV smallness (it will probably be a big hit on cable), and it never quite vanquishes the nagging suspicion that you could be spending your time better elsewhere.
    • Miami Herald
    • 54 Metascore
    • 50 Rene Rodriguez
    May be the grandest looking film ever made on the subject, but it lacks the most essential element of all: passion.
    • 57 Metascore
    • 50 Rene Rodriguez
    Not even Sherlock Holmes could make much sense out of the overplotted, murky mess that is "Sherlock Holmes," although Arthur Conan Doyle's legendarily brainy detective would probably never buy a ticket to a movie as elephant-footed as this one.
    • 48 Metascore
    • 50 Rene Rodriguez
    Never feels like anything more than a Saturday morning cartoon pumped up to big-screen dimensions.
    • 50 Metascore
    • 50 Rene Rodriguez
    Planet of the Apes is never quite boring -- the movie is constantly giving you something new to look at -- but it's still a disappointingly dull and underplotted ride.
    • 62 Metascore
    • 50 Rene Rodriguez
    Ted
    Ted is more of an idea than a movie, a string of jokes and homages starring a cartoon and some game actors whose performances are destined to be enjoyed in chunks, rarely from start to finish, during momentary breaks of channel surfing on late-night TV.
    • 44 Metascore
    • 50 Rene Rodriguez
    The movie is quick and breezy for its first half-hour, then seems to grind down to a deadened pace: The actors' routines lose their freshness, and the nonexistent story line becomes apparent. The jokes get worse, too. Fortunately, at 80 minutes, the film is too brief to drag. [21 April 1992, p.E7]
    • Miami Herald
    • 63 Metascore
    • 50 Rene Rodriguez
    The more hellish the story gets, the sillier and less involving the movie becomes.
    • 57 Metascore
    • 50 Rene Rodriguez
    You never really get the sense Zhang is taking the movie seriously, so you can't either. A Woman, a Gun and a Noodle Shop proves that American filmmakers aren't the only ones who can bungle remakes of foreign movies.
    • 64 Metascore
    • 50 Rene Rodriguez
    Mother and Child is good when it takes a harsh, unsparing look at lament and the burdens we carry throughout our lives. Then it goes for your tear ducts, and we're suddenly stranded in Lifetime TV territory.
    • 55 Metascore
    • 50 Rene Rodriguez
    Depp and Burton are two gifted, like-minded artists whose affinity for oddball characters and humor makes them natural creative partners. But they also enable each other's laziest, most indulgent habits: Too often, they seem to be making movies to entertain themselves instead of the audience.
    • 35 Metascore
    • 50 Rene Rodriguez
    The third -- and thinnest and weakest and least funny -- installment in Ice Cube's popular Friday series.
    • 65 Metascore
    • 50 Rene Rodriguez
    Feels like a cobbled collection of ideas and conceits rather than a stand-alone story.
    • 74 Metascore
    • 50 Rene Rodriguez
    Set almost entirely in one location and shot in widescreen to accommodate its ensemble cast, The Invitation seems tailor-made for a talented filmmaker who wants to show off skills within the constraints of a small budget. But the script, by Phil Hay and Matt Manfredi (who somehow still find work after having written The Tuxedo, R.I.P.D., and Clash of the Titans), is flimsy and nonsensical in the manner of cheap, straight-to-video-not-even-VOD horror pictures, and Kusama’s direction is clumsy and uninspired. She also telegraphs too many of the plot’s twists.
    • 44 Metascore
    • 50 Rene Rodriguez
    A severe bout of sequelitis afflicts this eagerly awaited but only sporadically amusing follow-up.
    • 47 Metascore
    • 50 Rene Rodriguez
    If anyone other than Gus Van Sant had directed Restless, the film could have well been impossible to sit through.
    • 38 Metascore
    • 50 Rene Rodriguez
    Plays like a colorful but inert timekiller that you might tolerate while dozing off in front of the TV, but only because you are too sleepy to reach for the remote control.
    • 64 Metascore
    • 50 Rene Rodriguez
    It's the kind of movie for which the phrase ''you've never seen anything like it before'' was invented. The question is whether anyone would want to.
    • 43 Metascore
    • 50 Rene Rodriguez
    So superficial and formulaic that even Garner's mega-watt grin can't completely save it.
    • 52 Metascore
    • 50 Rene Rodriguez
    In The Monuments Men, director George Clooney takes a wild, stranger-than-fiction true story and turns it into a dull, prestigious slog.
    • 68 Metascore
    • 50 Rene Rodriguez
    The coming-of-age tale The Way, Way Back is sweet, heartfelt and utterly trite and predictable from beginning to end.
    • 47 Metascore
    • 50 Rene Rodriguez
    Even if you're willing to overlook the preposterous plot holes in its premise, Accepted pushes its luck in its final half-hour.
    • 57 Metascore
    • 50 Rene Rodriguez
    Lives or dies by your ability to buy the sight of Anthony Hopkins and Nicole Kidman snuggling in bed and enjoying hot, torrid sex. This may seem like a superficial approach to such a lofty, serious movie, but it is an insurmountable problem.
    • 49 Metascore
    • 50 Rene Rodriguez
    Beautifully crafted, intricately plotted and obviously a labor of love. It is also a mess.
    • 57 Metascore
    • 50 Rene Rodriguez
    Lacks the one element that the filmmakers were most desperately aiming for: A genuine sense of fun.
    • Miami Herald
    • 52 Metascore
    • 50 Rene Rodriguez
    It's beautiful to look at, but there's little there to savor.
    • 64 Metascore
    • 50 Rene Rodriguez
    It's Amy Poehler and Will Arnett, as a rival brother-sister skating team who are a little too intimate for comfort, who seem to be giving it their all. If only the movie had been about them.
    • 43 Metascore
    • 50 Rene Rodriguez
    Best of all, though, is Seann William Scott as the profoundly annoying, profoundly vulgar Stifler.
    • 57 Metascore
    • 50 Rene Rodriguez
    Stories about scientists doubting what they know to be true — "Contact," for example — can be provocative and engaging, on an intellectual and emotional level. But I Origins challenges too little and ties up things too neatly for it to register as anything more than well-made, well-intentioned hogwash.
    • 49 Metascore
    • 50 Rene Rodriguez
    It's all very "Cuckoo's Nest," but in a glib, facile way, and it leaves K-PAX adrift in its fuzzy, New-Agey orbit.
    • 53 Metascore
    • 50 Rene Rodriguez
    Enemy at the Gates will pique your interest in the Battle of Stalingrad, but it leaves that interest sadly unsated.
    • Miami Herald
    • 42 Metascore
    • 50 Rene Rodriguez
    For all its ambition, Daredevil can't overcome the fact that at its colorful center lies a perfect blank in a bad suit.
    • 47 Metascore
    • 50 Rene Rodriguez
    Falls far short of the sweep, complexity and passion it seeks.
    • 47 Metascore
    • 50 Rene Rodriguez
    The story's third-act detour into tragedy is predictable and unwelcome, providing a resolution that is too pat and familiar to be moving.
    • 65 Metascore
    • 50 Rene Rodriguez
    If Soderbergh set out to make a galvanizing conversation piece, he has certainly succeeded. But this cold, occasionally dull movie practically defies you to embrace it.
    • 40 Metascore
    • 50 Rene Rodriguez
    The Hunted is so openly, defiantly derivative of 1982's "First Blood," you figure there has to be a copyright lawsuit brewing right this very minute.
    • 68 Metascore
    • 50 Rene Rodriguez
    The Hunger Games takes no risks.
    • 46 Metascore
    • 50 Rene Rodriguez
    Inadvertently does with the civil rights movement exactly what Banderas set out not to do: trivializes it.
    • Miami Herald
    • 64 Metascore
    • 50 Rene Rodriguez
    There's an irrelevance to the movie that the filmmakers, hard as they try, can't quite shake - something awfully square about the picture: It would have played a lot better a decade ago.
    • 28 Metascore
    • 50 Rene Rodriguez
    You Again is at its funniest in the early scenes, when everyone is pretending all is well beneath forced smiles and plotting eyes.
    • 43 Metascore
    • 50 Rene Rodriguez
    The finished film has been tinkered with and tweaked so thoroughly that it borders on the incomprehensible.
    • 40 Metascore
    • 50 Rene Rodriguez
    A biopic that is as messy as the life it details.
    • Miami Herald
    • 53 Metascore
    • 50 Rene Rodriguez
    It's another portrait of amoral, hedonistic youth gone awry, a la Larry Clark's "Bully", and it is alternately engrossing and ridiculous, often in the span of one scene to the next.

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