Rene Rodriguez

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For 1,785 reviews, this critic has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Rene Rodriguez's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Inglourious Basterds
Lowest review score: 0 The Watcher
Score distribution:
1785 movie reviews
    • 87 Metascore
    • 50 Rene Rodriguez
    All is Lost is more fun to think about than it is to actually watch: It’s a testament to a great actor, an experimental piece of cinema and a bit of a bore.
    • 86 Metascore
    • 50 Rene Rodriguez
    The Master has become a contest between two gifted actors trying to shout each other down. The commitment to their roles is impressive, but it's tethered to a weightless, airless movie, a film so enamored of itself, the audience gets shut out.
    • 85 Metascore
    • 50 Rene Rodriguez
    What The Long Day Closes lacks is a narrative thread, however slim, to match the perfectly realized setting and wonderful visuals Davies has crafted. The whole thing feels like a chapter of a much larger work, one that, if finished, would doubtless prove more intriguing than what we get here. [7 Aug 1993, p.G5]
    • Miami Herald
    • 82 Metascore
    • 50 Rene Rodriguez
    An artsy bore.
    • 54 Metascore
    • 50 Rene Rodriguez
    By the time the end credits roll, you're still not sure what kind of movie The Hunting Party is supposed to be, other than just queasy.
    • 82 Metascore
    • 50 Rene Rodriguez
    Although it deals with some monumental themes, Mademoiselle Chambon also feels wispy and inconsequential.
    • 81 Metascore
    • 50 Rene Rodriguez
    The best science fiction leaves you with questions and ideas to ponder. Arrival is the sort of superficially profound movie that initially seems deep and weighty but stops making sense the moment you put down the bong.
    • 81 Metascore
    • 50 Rene Rodriguez
    As intriguing as Hardy is to watch, the picture can’t overcome its cinematic-stunt vibe.
    • 80 Metascore
    • 50 Rene Rodriguez
    The movie is practically incomprehensible.
    • 80 Metascore
    • 50 Rene Rodriguez
    Despite the great care and research that went into the movie, Frost/Nixon pales in comparison to Oliver Stone's "Nixon" when it comes to humanizing the infamous leader.
    • 79 Metascore
    • 50 Rene Rodriguez
    Watching an army of apes riding horses heading into battle is undeniably cool, but that’s the only thing the movie gives you: Neat eye candy. Dawn of the Planet of the Apes is written at a level so low, even 8- year-olds will find it lacking.
    • 50 Metascore
    • 50 Rene Rodriguez
    Unfortunately, The Island grows dumber as it goes along, gradually disintegrating into a generic good-versus-evil spectacular that not only defies all known laws of gravity and physics, but also suffers from the lack of morality that plagues Bay's films.
    • 77 Metascore
    • 50 Rene Rodriguez
    The Jungle Book has its moments — the panther Bagheera voiced by Ben Kingsley, the python Kaa voiced by Scarlett Johansson and a funny porcupine voiced by the late Garry Shandling are all memorable creations — but the overall film feels cold and mechanical, befitting a movie that was made primarily because technology made it possible.
    • 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."
    • 76 Metascore
    • 50 Rene Rodriguez
    One question in particular hangs heavily over the entire film, a plot hole so distracting it becomes the only thing you can think about.
    • 49 Metascore
    • 50 Rene Rodriguez
    Aside from satisfying some kind of ghoulish curiosity about how such an incident could possibly happen, there's precious little in Death of a President to justify the extremity of its central conceit.
    • 76 Metascore
    • 50 Rene Rodriguez
    The main problem with Submarine is that Oliver is not a likable protagonist.
    • 43 Metascore
    • 50 Rene Rodriguez
    The finished film has been tinkered with and tweaked so thoroughly that it borders on the incomprehensible.
    • 75 Metascore
    • 50 Rene Rodriguez
    Feels like the shell of a wonderful story.
    • Miami Herald
    • 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.
    • 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.
    • 47 Metascore
    • 50 Rene Rodriguez
    Flyboys is so schematic and contrived, you can anticipate exactly what scene is going to come next, and who will be the next to die in combat, once you latch onto the structure of the script, which has all the inventiveness and ingenuity of a flow chart.
    • 74 Metascore
    • 50 Rene Rodriguez
    The result is earnest, admirable and more than a little dull -- a pedestrian movie about a remarkable subject.
    • 72 Metascore
    • 50 Rene Rodriguez
    The Coens feel out of step this time; they’ve lost their rhythm the way they did in The Hudsucker Proxy, where the style consumed the entire picture, turning what should have been humorous and snappy into a grating chore.
    • 72 Metascore
    • 50 Rene Rodriguez
    The actors are talented enough to carry the movie, but they fade into the background once things grow dire, and the special effects take over. There's no sense of wonder or awe.
    • 71 Metascore
    • 50 Rene Rodriguez
    Tadpole was shot on digital video, and the images often look smeary and blurry, to the point of distraction. Then again, in a better movie, you might not have noticed.
    • 59 Metascore
    • 50 Rene Rodriguez
    Deja Vu becomes increasingly sillier.
    • 71 Metascore
    • 50 Rene Rodriguez
    Edge of Tomorrow isn’t good, but it’s also forgivable. Just please stop the "Top Gun 2" rumors, Tom. Please.
    • 71 Metascore
    • 50 Rene Rodriguez
    The film lacks the menace and danger of Sendak's book, along with the beautiful simplicity and delicated, understated portrait of a lonely, misunderstood boy.
    • 71 Metascore
    • 50 Rene Rodriguez
    Director Hector Babenco's sentimental, unconvincing adaptation of Varella's book, is a soft, simplistic look at a tough, complicated subject.
    • 71 Metascore
    • 50 Rene Rodriguez
    You start out fearing Don’t Breathe, but by the end you’re laughing at it — and the humor is not intentional.
    • 70 Metascore
    • 50 Rene Rodriguez
    A relentless descent into a psychedelic hell, a rambunctious feel-bad epic.
    • Miami Herald
    • 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.
    • 69 Metascore
    • 50 Rene Rodriguez
    Unstoppable is the slowest, talkiest movie you'll ever see about a runaway freight train loaded with toxic chemicals.
    • 69 Metascore
    • 50 Rene Rodriguez
    An impeccably shot, studiously staged, passionately acted bore, one of those curious fizzles in which everyone seems to do everything right, but the film simply refuses to take off.
    • 69 Metascore
    • 50 Rene Rodriguez
    Palo Alto is a pale imitation of the early novels of Bret Easton Ellis, who wrote about young ennui and misdirection from the inside out.
    • 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.
    • 69 Metascore
    • 50 Rene Rodriguez
    For all its splendor, The New World is really a love affair between Malick and his camera.
    • 69 Metascore
    • 50 Rene Rodriguez
    It feels like three movies stitched together.
    • 69 Metascore
    • 50 Rene Rodriguez
    There are 10 minutes of animation in the film, and it could have used a few more: They have a spirited, inventive energy that the rest of this well-intentioned but awfully melodramatic movie lacks.
    • 69 Metascore
    • 50 Rene Rodriguez
    The movie fails utterly at coming up with a story that merits all the eye candy.
    • 69 Metascore
    • 50 Rene Rodriguez
    From a purely cinematic standpoint, The Underneath is Soderbergh's most daring work yet, full of elliptical flashbacks and fast-forwards; ominous camera angles and cinematic tricks. But Soderbergh's movies (sex, lies and videotape, Kafka, King of the Hill) have always been cunningly smart, and The Underneath is not. [28 April 1995, p.5G]
    • Miami Herald
    • 69 Metascore
    • 50 Rene Rodriguez
    Remains naggingly hollow, a cerebral exercise in whimsy that isn't nearly clever or funny enough to seem like more than grand self-indulgence.
    • 68 Metascore
    • 50 Rene Rodriguez
    McGrath makes literal what the other movie only hinted at -- that Perry falls in love with Capote -- turning the relationship between author and subject into something far less complicated and more mundane.
    • 68 Metascore
    • 50 Rene Rodriguez
    The Hunger Games takes no risks.
    • 68 Metascore
    • 50 Rene Rodriguez
    Depp isn’t doing anything different here than he did in "Dark Shadows" or "Alice in Wonderland" or the "Pirates of the Caribbean" movies. Once again, he’s unrecognizable under elaborate makeup and prosthetics, and he speaks with a peculiar voice (this time a thick South Boston accent).
    • 68 Metascore
    • 50 Rene Rodriguez
    The Illusionist is dogged by an inert, stale aura that overcomes everything and everyone in the movie.
    • 68 Metascore
    • 50 Rene Rodriguez
    Next time Damon will have to find a worthier vehicle. As the intended start of a franchise, The Bourne Identity is a bit of a bust.
    • 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.
    • 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.
    • 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?
    • 68 Metascore
    • 50 Rene Rodriguez
    While the scope of the movie is bigger, its impact is smaller. "Blue Valentine" was a precise, heartrending portrait of a marriage coming apart at the seams. The theme of his new movie is a lot harder to discern.
    • 68 Metascore
    • 50 Rene Rodriguez
    A momentary diversion.
    • 67 Metascore
    • 50 Rene Rodriguez
    The actors all suffer beautifully, but their pain doesn’t register: It’s all affectations and red-rimmed eyes.
    • 67 Metascore
    • 50 Rene Rodriguez
    Van Sant's refusal to delve into his subject in anything but an abstract way renders the movie pointless and frustrating -- a lyrical, lovely tone poem, signifying little.
    • 67 Metascore
    • 50 Rene Rodriguez
    Jarmusch has never seemed quite this baffling -- or quite this dull.
    • Miami Herald
    • 67 Metascore
    • 50 Rene Rodriguez
    Steven Soderbergh has been telling interviewers that he's planning to take a sabbatical from filmmaking because he has lost his inspiration. His lack of interest is palpable in Haywire, a rote exercise in action filmmaking that is sleek and polished and instantly evaporates from memory.
    • 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.
    • 67 Metascore
    • 50 Rene Rodriguez
    Here is a film in which nothing is at stake: Cars crash into each other head-on at high speeds, vehicles sail off cliffs and tumble down rocky mountainsides, people jump out of buildings and fall six stories to the ground, then characters just dust themselves off and continue as if nothing had happened. Even Wile E. Coyote wasn't this resilient.
    • 67 Metascore
    • 50 Rene Rodriguez
    The best stuff comes early in Ruby Sparks, which was written by Kazan (granddaughter of Elia) and directed by the husband and wife team of Jonathan Dayton and Valerie Faris (Little Miss Sunshine).
    • 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.
    • 66 Metascore
    • 50 Rene Rodriguez
    If watching cartoon characters spout four-letter words is your thing, this might well be the greatest movie ever made.
    • 66 Metascore
    • 50 Rene Rodriguez
    Diary of the Dead is at its best when Romero is just goofing off, like when he shows us home video footage of a children's birthday party.
    • 66 Metascore
    • 50 Rene Rodriguez
    It's a clammy, depressing movie, but not a very illuminating one.
    • 66 Metascore
    • 50 Rene Rodriguez
    For a good hour, Seven Psychopaths is lively, bloody fun. Then the yawning starts.
    • 66 Metascore
    • 50 Rene Rodriguez
    Truth should have felt like a tragedy, a story about a monumental but fascinating failure of journalism, the flip side to the upcoming Spotlight, about the Boston Globe’s Pulitzer Prize-winning investigation of sexual abuse within the Catholic church. Instead, Truth wants to make your blood boil. It succeeds — but not in the way the filmmakers intended.
    • 66 Metascore
    • 50 Rene Rodriguez
    It is almost completely devoid of any trace of humor. It radiates a luxurious, all-encompassing mopeyness.
    • 66 Metascore
    • 50 Rene Rodriguez
    Jackson has become too distracted by his digital toys to give his characters the same weight and importance he used in the Rings trilogy.
    • 66 Metascore
    • 50 Rene Rodriguez
    By the time the film's climactic 15 minutes rolled around, viewers at a preview were laughing as if they were watching "Knocked Up." For a horror picture, such a reaction is the equivalent of a stake through the heart.
    • 66 Metascore
    • 50 Rene Rodriguez
    Its stop-and-start feel keeps you from ever getting fully absorbed in the story.
    • 66 Metascore
    • 50 Rene Rodriguez
    The performances in Bandslam are uniformly strong -- good enough to make you wish this bunch of charismatic, talented kids had been given better material.
    • 65 Metascore
    • 50 Rene Rodriguez
    The movie is oddly impersonal - you remember the concept more than the story - and feels like something that was made simply for the opportunity to pair Streep and Jones for the first time.
    • 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.
    • 65 Metascore
    • 50 Rene Rodriguez
    The good news about Rogue One: A Star Wars Story, the first in a planned series of stand-alone movies set in the “Star Wars” universe, is that the last half-hour of the film is a sustained stretch of rousing action, indelible images and cliffhanger thrills. It’s pop sci-fi bliss...The bad news about Rogue One is that getting to the good stuff is a slog — and the movie is pretty long.
    • 65 Metascore
    • 50 Rene Rodriguez
    The movie tends to lapse into soapy melodrama and heavy-handed preaching whenever possible, and the feel-good ending that appears out of nowhere essentially negates a lot of what has preceded it, adding one more moral to a movie already weighed down by life lessons.
    • 65 Metascore
    • 50 Rene Rodriguez
    One of the most pessimistic movies about love Hollywood has ever made, a star-studded, glossy anti-date movie.
    • 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.
    • 65 Metascore
    • 50 Rene Rodriguez
    Feels like a cobbled collection of ideas and conceits rather than a stand-alone story.
    • 65 Metascore
    • 50 Rene Rodriguez
    The Runaways ultimately feels too lethargic and conventional for the wild story it tells.
    • 65 Metascore
    • 50 Rene Rodriguez
    Saving Mr. Banks is two movies crammed into one cumbersome, overlong drama.
    • 65 Metascore
    • 50 Rene Rodriguez
    Monsters University feels half-hearted and lazy, like they weren’t even trying. At least show a little effort, guys.
    • 65 Metascore
    • 50 Rene Rodriguez
    The whole of Prometheus - which was written by Jon Spaihts and Damon Lindelof, and rips off everything from "2001: A Space Odyssey" to "Event Horizon" - feels derivative and passé: The film is a shiny, high-tech relic.
    • 65 Metascore
    • 50 Rene Rodriguez
    It's all pretty hoary stuff, but you'll be willing to overlook most of it because the premise is so compellingly delivered, with flashy sturm und drang, by director Wolfgang Petersen. [10 Mar 1995, P.5G]
    • Miami Herald
    • 64 Metascore
    • 50 Rene Rodriguez
    After an exciting high-speed car chase reminiscent of the Mad Max pictures, The Rover settles into a two-character drama between Eric and Rey, but Pearce is so one-note that their relationship is never engaging.
    • 64 Metascore
    • 50 Rene Rodriguez
    For all its Buck Rogers-style derring-do, gorgeous vistas of an Art Deco New York and sepia-toned cinematography, Sky Captain is a static, uninvolving experience.
    • 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.
    • 64 Metascore
    • 50 Rene Rodriguez
    After a promising start, this ambitious but ultimately clunky and unwieldy movie dissolves into a pile of ideas in dire need of dramatization.
    • 64 Metascore
    • 50 Rene Rodriguez
    It's only near the end, when Romanek sets out to release the tremendous tension he's built up, that One Hour Photo loses its bearings.
    • 64 Metascore
    • 50 Rene Rodriguez
    You expect something far different and better than the same-old.
    • 64 Metascore
    • 50 Rene Rodriguez
    Repetitious, uneventful and, in the end, dull.
    • 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.
    • 64 Metascore
    • 50 Rene Rodriguez
    The movie is polished, well-acted and atmospheric, but still pure formula, and not very scary, either.
    • 64 Metascore
    • 50 Rene Rodriguez
    Fury aims for history, and the contrived resolution shows a timidity by Ayer that is uncharacteristic of his previous work. Still, the action sequences, which use actual vintage tanks and little CGI, are pretty extraordinary and, at times, incredibly gruesome. War is hell. That’s entertainment, folks.
    • 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
    • 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.
    • 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.
    • 64 Metascore
    • 50 Rene Rodriguez
    It's like watching "The Treasure of Sierra Madre" as remade by "Nightline."
    • 64 Metascore
    • 50 Rene Rodriguez
    Explosively funny in spots -- this is easily Vaughn's best work since "Swingers" -- but it comes wrapped in a package so sweet and sugary, so tediously moral and conventional, it sabotages the laughs.
    • 64 Metascore
    • 50 Rene Rodriguez
    As far as production values go, this Peter Pan is a work of art. So why, then, does the movie feel so crushingly dull?
    • 63 Metascore
    • 50 Rene Rodriguez
    Yes, the Naked Gun series is showing its age, resorting to spoofs that have been done countless times before (there's a long, mostly unfunny parody of prison movies) or sketches that simply don't work (like a lame Thelma and Louise takeoff.) This type of rapid-fire, joke-a-second comedy is on the verge of cliche -- imitations like Fatal Instinct, National Lampoon's Loaded Weapon, and the Hot Shots! series have turned what was fresh and rollicking into a formidable challenge. Audiences have grown used to this style of stupid humor, so if a movie is going to employ the Airplane! format, the jokes have to be funny. [18 Mar 1994, p.G5]
    • Miami Herald

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