Rene Rodriguez
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For 1,612 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 3.2 points higher than other critics. (0-100 point scale)

Rene Rodriguez's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 WALL-E
Lowest review score: 0 The Watcher
Score distribution:
1,612 movie reviews
    • 71 Metascore
    • 63 Rene Rodriguez
    Eventually, though, the monsters come out -- blind, snarling cave-dwellers, looking much like Gollum's bigger kin -- and The Descent becomes a simple exercise in guessing who, if anyone, will survive.
    • 74 Metascore
    • 63 Rene Rodriguez
    It's a brutal, merciless, somber picture, utterly devoid of the heart-tugging sentimentality that always creeps into even his best films.
    • 41 Metascore
    • 63 Rene Rodriguez
    A welcome antidote to the depressing, feel-bad sadism of recent horror hits like Hostel and Saw II, Final Destination 3 puts the fun back in watching stupid people die Rube Goldberg-elaborate, ridiculously gory deaths.
    • 65 Metascore
    • 63 Rene Rodriguez
    There's never a question which side the movie is rooting for during the trial, and the light tone trivializes what might have been a much more intriguing exploration of the American legal system.
    • 64 Metascore
    • 63 Rene Rodriguez
    The script, which Harron co-wrote with Guinevere Turner, presents a disappointingly superficial portrait of Page as a person.
    • 65 Metascore
    • 63 Rene Rodriguez
    Down in the Valley becomes increasingly harder to believe as it goes along, with people behaving in ways that strain credibility.
    • 73 Metascore
    • 63 Rene Rodriguez
    Cars is certainly watchable, and there's always some amusing bit of business happening at the edges of the frame.
    • 52 Metascore
    • 63 Rene Rodriguez
    The movie is a bauble, but it's an enjoyably weird and original one, and it is anchored by Black's constantly amusing performance.
    • 61 Metascore
    • 63 Rene Rodriguez
    Even though Lower City ultimately leads nowhere (the movie doesn't end so much as simply stop), you won't mind having taken the trip.
    • 62 Metascore
    • 63 Rene Rodriguez
    A lightweight, formulaic piece of fluff, but you wouldn't know that by Meryl Streep's performance.
    • 73 Metascore
    • 63 Rene Rodriguez
    More than once during A Scanner Darkly, you find yourself wishing these characters would just shut up.
    • 48 Metascore
    • 63 Rene Rodriguez
    Decidedly minor Woody.
    • 51 Metascore
    • 63 Rene Rodriguez
    The film is not so much suspenseful as intriguing.
    • 66 Metascore
    • 63 Rene Rodriguez
    Ferrell's shtick never grows tiresome, because it's constantly changing.
    • 55 Metascore
    • 63 Rene Rodriguez
    A mess, but an energetic, convivial mess.
    • 49 Metascore
    • 63 Rene Rodriguez
    Veteran director Manuel Gomez-Pereira (Boca a Boca, Between Your Legs) falls short of the manic screwball farce he was aiming for.
    • 75 Metascore
    • 63 Rene Rodriguez
    Slowly loses its grip, becoming just another story about infidelity, albeit an exceptionally polished, well-acted one.
    • 79 Metascore
    • 63 Rene Rodriguez
    An ambitious, powerful, somber picture, but it never quite moves you the way it should.
    • 47 Metascore
    • 63 Rene Rodriguez
    Scott embraces the lightness of the material instead of trying to give it unnecessary weight, and even if he's far from the ideal filmmaker to choreograph bits of slapstick, A Good Year is never less than visually ravishing.
    • 81 Metascore
    • 63 Rene Rodriguez
    The movie is simply too long for its own good.
    • 64 Metascore
    • 63 Rene Rodriguez
    Fast Food Nation would have benefited from a longer running time -- the movie often feels like it's missing big chunks of plot -- but Linklater's cautionary message gets through.
    • 68 Metascore
    • 63 Rene Rodriguez
    But as rich a comic turf as the huge egos and even bigger neuroses of Hollywood types would seem, For Your Consideration always seems a bit too tame for its own good: It never busts out the way you hope it would.
    • 74 Metascore
    • 63 Rene Rodriguez
    A funny thing happened to The History Boys on the way to the screen. The players are the same, the dialogue is pretty much identical, but the vibrancy of the play -- its exhilarating immediacy -- has been muted.
    • 63 Metascore
    • 63 Rene Rodriguez
    Rocky Balboa is far from essential, and there are moments in it bad enough to make you wince. But I dare you not to feel at least a tiny little rush when that opening bell rings, and Rocky starts swinging one final time.
    • 74 Metascore
    • 63 Rene Rodriguez
    By the end of Breach, we never come to fully understand Hanssen -- who could? -- but Cooper's beguiling performance and his tense cat-and-mouse games with Phillippe help bring an extra layer of entertainment to this otherwise rote thriller.
    • 51 Metascore
    • 63 Rene Rodriguez
    300
    300 is at its best when it settles for purely visceral thrills, such as Leonidas' battle against a hulking warrior twice the size of a normal man. The movie's broad strokes are all superlative: It's the details that keep 300 from being anything more than a striking curiosity.
    • 58 Metascore
    • 63 Rene Rodriguez
    The story falters only at the end, but it's the ride, not the destination, that you remember and savor the most.
    • 62 Metascore
    • 63 Rene Rodriguez
    Instead of leaving you lamenting the lack of creativity and originality in the film industry, this modest, playful thriller puts you in a forgiving mood.
    • 64 Metascore
    • 63 Rene Rodriguez
    For about an hour or so, 1408 has you thinking you're watching The Next Great Horror Movie: That's how good the first half of this adaptation of Stephen King's short story about a haunted hotel room is.
    • 74 Metascore
    • 63 Rene Rodriguez
    The overriding tone of A Mighty Heart is neither indignant nor sentimental: The film is consistently cool, almost to a fault.
    • 64 Metascore
    • 63 Rene Rodriguez
    Leoni's presence adds a jolt of energy to a movie that, while not necessarily worth going out of your way for, turns out to be a lot more clever than it initially appears.
    • 56 Metascore
    • 63 Rene Rodriguez
    As far as its plot mechanics go, The Brave One belongs to the hallowed (if less-than-respectable) genre of exploitative revenge pictures.
    • 73 Metascore
    • 63 Rene Rodriguez
    The movie tries its hardest to celebrate the impetuousness of its hero and the exhilaration of his accomplishments. Mostly, though, it just reminds you of the severity of his mistakes.
    • 61 Metascore
    • 63 Rene Rodriguez
    There's too much caution and not enough lust.
    • 46 Metascore
    • 63 Rene Rodriguez
    The movie earns its R-rating with some graphic (and hilarious) sex scenes and a torrent of four-letter words, but this is a much more sophisticated enterprise than a mere gross-out comedy.
    • 67 Metascore
    • 63 Rene Rodriguez
    The latest Christmas-tree movie from director Wes Anderson, who makes pictures so carefully appointed and decorated, they sometimes feel like they're made to be looked at instead of watched.
    • 47 Metascore
    • 63 Rene Rodriguez
    And unlike other recent dramas such as "Rendition," the film never feels like it's preaching. Instead, it just urges: Whatever you believe, do something.
    • 59 Metascore
    • 63 Rene Rodriguez
    Beowulf is many things, but boring isn't one of them.
    • 73 Metascore
    • 63 Rene Rodriguez
    Only devout Dylan fans will be able to derive much sense out of it. Dylan novices can only sit back and surrender to the ride Haynes offers: It's a strange, surreal trip.
    • 57 Metascore
    • 63 Rene Rodriguez
    The heist in Flawless comes at the film's midpoint, but although Radford wrings some nice suspense from the sequence, the theft isn't his primary focus here. It's what happens next.
    • 65 Metascore
    • 63 Rene Rodriguez
    Befitting a story about marriage, adultery and murder, all the characters in Married Life are constantly lying to each other. Sometimes they even lie to the audience.
    • 56 Metascore
    • 63 Rene Rodriguez
    Leatherheads goes on a good 20 minutes too long, and there's very little in it that makes a lasting impression, but it's easy to watch while it's unspooling -- much like, you know, a lot of Cary Grant comedies.
    • 44 Metascore
    • 63 Rene Rodriguez
    The Ruins is, with one major caveat, about as good an adaptation of Scott Smith's bestselling novel as Hollywood was ever going to make.
    • 55 Metascore
    • 63 Rene Rodriguez
    The picture may feel more than a little familiar, but Ayer knows how to cook up intense setpieces, and Reeves keeps getting better at the weary hero role he continually gravitates toward.
    • 71 Metascore
    • 63 Rene Rodriguez
    Never seen a murder mystery you couldn't outwit? Here is your movie.
    • 62 Metascore
    • 63 Rene Rodriguez
    The movie is more somber and less wondrous in tone than the first film, especially since the lion Aslan (voiced by Liam Neeson), who would have been instrumental in leading the Narnians to victory, has disappeared.
    • 65 Metascore
    • 63 Rene Rodriguez
    The script was kept under unusually tight wraps during filming, but the biggest surprise in the picture is how talky the whole enterprise is. Particularly deadly is a long stretch in mid-film where the heroes walk through caves, talk about what they're seeing, get captured and talk with their captors, escape and talk some more.
    • 61 Metascore
    • 63 Rene Rodriguez
    Closer in spirit and tone to the comic books that spawned it.
    • 57 Metascore
    • 63 Rene Rodriguez
    A brisk, undemanding adventure aimed squarely at the family market, Journey is completely passable in 2-D. But viewing it through 3-D glasses not only quadruples the movie's entertainment value, it also explains why characters are constantly thrusting things at the camera.
    • 51 Metascore
    • 63 Rene Rodriguez
    As a story, Mamma Mia! is a sham, a narrative so rickety it makes "Grease" seem like Shakespeare. It fails as a musical, too, since only about half of the songs have any bearing on the scene that preceded them.
    • 51 Metascore
    • 63 Rene Rodriguez
    It's a testament to their performances -- and the spirit of this surprisingly raunchy, decidedly R-rated comedy -- that by the end credits, you've grown to like them a little bit. You just wouldn't want to live with them.
    • 71 Metascore
    • 63 Rene Rodriguez
    The frustratingly uneven comedy Tropic Thunder has moments of full-on, bust-a-gut hilarity, along with long stretches where you can hear the crickets chirping in the theater.
    • 56 Metascore
    • 63 Rene Rodriguez
    W.
    Passably interesting, occasionally riveting and largely superfluous. But it's certainly a worthwhile curiosity, and it's not what anyone expected. At the movies these days, that alone is worth something.
    • 60 Metascore
    • 63 Rene Rodriguez
    Traitor is "Syriana" for dummies, a globe-hopping, multi-character look at the war between America and Islamic terrorists that keeps things as relatively simple as an episode of 24. Not that there's anything wrong with that: 24 is a really good show. But it doesn't pretend to be something it's not, either.
    • 57 Metascore
    • 63 Rene Rodriguez
    It's a generic, clunky title. The movie isn't quite as disposable, but it's not exactly memorable, either.
    • 67 Metascore
    • 63 Rene Rodriguez
    Has that formulaic, cookie-cutter feel typical of many Disney toons. The premise is inspired, but the follow-through is merely adequate.
    • 51 Metascore
    • 63 Rene Rodriguez
    A crowd-pleasing comedy that makes up for its formulaic, sitcom-ready premise with likable performances and an inviting sense of humor.
    • 82 Metascore
    • 63 Rene Rodriguez
    For those who can tough it out -- and not everyone will -- Hunger is a searing experience. Just don't expect to have much of an appetite when it's over.
    • 40 Metascore
    • 63 Rene Rodriguez
    Just because the new The Day the Earth Stood Still is green, though, doesn't mean it's dull. If anything, there's a lot more mayhem and destruction this time around.
    • 52 Metascore
    • 63 Rene Rodriguez
    An hour after seeing it, you may not remember what The International was about. But you'll certainly remember that shootout. That is something to behold.
    • 55 Metascore
    • 63 Rene Rodriguez
    Even after the plot has left you behind, you still watch The Brothers Bloom with a smile, because the actors are so engaging.
    • 66 Metascore
    • 63 Rene Rodriguez
    The movie could have used a few more scenes focusing on Child at work in the kitchen -- a few more scenes with Child doing anything, really.
    • 35 Metascore
    • 63 Rene Rodriguez
    At least the special effects in Transformers: Revenge of the Fallen are remarkable: You never tire of the endless variations of robots Bay and his computer-generated effects crew come up with.
    • 73 Metascore
    • 63 Rene Rodriguez
    This is minor Disney at best, forgettable at worst.
    • 56 Metascore
    • 63 Rene Rodriguez
    The most daring thing about Adam, the story of a young man with Asperger's syndrome, is that there isn't a scene in which someone stops to explain exactly what Asperger's IS.
    • 80 Metascore
    • 63 Rene Rodriguez
    Lorna's Silence doesn't work, but it's a beautiful misfire.
    • 30 Metascore
    • 63 Rene Rodriguez
    This is a slight and unessential picture, but its quirky, compassionate tone seems destined to attract a cult following, and members of high-school drama clubs everywhere will be riveted.
    • 62 Metascore
    • 63 Rene Rodriguez
    My One and Only isn't exactly memorable, but this little, personable movie is a fine showcase for Zellweger's talents and a paean to the sort of mid-1950s America best remembered in Norman Rockwell paintings.
    • 47 Metascore
    • 63 Rene Rodriguez
    Not since Brian De Palma's "Carrie" has a horror movie so effectively exploited the genre as a metaphor for adolescent angst, female sexuality and the strange, sometimes corrosive bonds between girls who claim to be best friends.
    • 83 Metascore
    • 63 Rene Rodriguez
    Whatever faults Avatar may have -- and there are many -- the movie succeeds in immersing you in a photorealistic, painstakingly detailed world more fully than any science fiction movie before.
    • 53 Metascore
    • 63 Rene Rodriguez
    Alice in Wonderland is curiously devoid of metaphors and allegories about a young woman on the cusp of adulthood, about to be engaged by arrangement to a loathsome toad of a man she can barely stomach. The lack of psychological subtext is hugely disappointing.
    • 61 Metascore
    • 63 Rene Rodriguez
    Although never boring and almost continually amusing, Extract doesn't work as a movie because you don't buy a minute of it, even as silly satire.
    • 68 Metascore
    • 63 Rene Rodriguez
    The movie's faults aside, this is the kind of show where half the fun is watching it in the company of a large group of people.
    • 76 Metascore
    • 63 Rene Rodriguez
    With this gorgeously melodramatic ode to cinema, the filmmaker comes dangerously close to losing himself inside his celluloid dreams -- and leaving the audience behind.
    • 42 Metascore
    • 63 Rene Rodriguez
    Generic but breezily entertaining.
    • 47 Metascore
    • 63 Rene Rodriguez
    May not be so deep or richly imagined as J.K. Rowling's universe of magic and Muggles, but the film is populated by likable characters, great special effects and a neat premise.
    • 46 Metascore
    • 63 Rene Rodriguez
    She's Out of My League essentially plays its central premise straight, although the film does find time to veer into gross-out humor.
    • 40 Metascore
    • 63 Rene Rodriguez
    Coulter wants to explore the act of mourning as a theme, and how death sometimes reminds us that every minute of life should be savored. On that level, Remember Me certainly succeeds.
    • 66 Metascore
    • 63 Rene Rodriguez
    After starring in a string of heavy dramas, Andy Garcia lightens up and goes for the funny in City Island, a breezy comedy that fits the actor like a güayabera.
    • 56 Metascore
    • 63 Rene Rodriguez
    A passable adaptation of Kinney's novel, but no replacement for the real thing. Read the book, then see the movie.
    • 39 Metascore
    • 63 Rene Rodriguez
    This lavish, spectacular reworking of director Desmond Davis' beloved 1981 original is the rare sort of remake that actually makes sense: With all due respect (and copious apologies) to the generation that grew up with the first film, Clash of the Titans just wasn't very good.
    • 56 Metascore
    • 63 Rene Rodriguez
    Once the guns come out, and the car crashes begin, Date Night loses the funny.
    • 71 Metascore
    • 63 Rene Rodriguez
    Unfortunately, Ghobadi doesn't trust his film to convey the message that has already been clearly and entertainingly spelled out, and No One Knows About Persian Cats ends on a sudden note of tragedy that almost ruins the exuberant spirit of everything that has preceded it.
    • 68 Metascore
    • 63 Rene Rodriguez
    The amount of information the viewer is asked to process is voluminous and never stops coming.
    • 47 Metascore
    • 63 Rene Rodriguez
    The genius of a feature film based on the 1980s TV series is that it can't help but exceed expectations that are so low to begin with.
    • 65 Metascore
    • 63 Rene Rodriguez
    The volume is pitched high, perhaps so you won't notice how lackadaisically structured the picture is. Get Him to the Greek isn't really a story but a collection of comic set pieces.
    • 58 Metascore
    • 63 Rene Rodriguez
    Eclipse, like its two predecessors, is ham-fisted and obvious, a mass-market entertainment with a frustrating lack of imagination.
    • 69 Metascore
    • 63 Rene Rodriguez
    The result is initially exhilarating, ultimately exhausting.
    • 77 Metascore
    • 63 Rene Rodriguez
    Tender and sentimental, a little schmaltzy, and ultimately too slight.
    • 52 Metascore
    • 63 Rene Rodriguez
    You have to overlook a whole lot of guff in order to enjoy the slight but pleasurable entertainment of The Switch.
    • 56 Metascore
    • 63 Rene Rodriguez
    Kline salvages the picture with his dynamic, utterly unpredictable performance -- the work of a highly skilled comedian thrilled by the opportunity to go nuts once again.
    • 59 Metascore
    • 63 Rene Rodriguez
    The movie, elegantly shot by Rodrigo Prieto, is sleek and brisk, using split-screens and graphics to help uninformed viewers grasp the basics of the corporate shenanigans the characters pull on each other.
    • 60 Metascore
    • 63 Rene Rodriguez
    RED
    Excels at bringing on the high-power pyrotechnics.
    • 65 Metascore
    • 63 Rene Rodriguez
    A lot of Harry Potter and the Deathly Hallows: Part One feels like slushy set-up for the climactic all-out battle due in theaters next summer. The movie doesn't even give us the expected cliffhanger ending, although I'd be lying if I said I'm not eager to see how everything turns out.
    • 52 Metascore
    • 63 Rene Rodriguez
    The Next Three Days might have fared a lot better if the screenwriters had stuck to "The Next Two Days."
    • 55 Metascore
    • 63 Rene Rodriguez
    Doesn't quite avoid the pitfalls of its genre, but at least the movie has the decency to make you laugh on its way to a foregone conclusion. Also, did I mention the sex?
    • 46 Metascore
    • 63 Rene Rodriguez
    The movie is all surface and trades on fortune-cookie wisdom.
    • 65 Metascore
    • 63 Rene Rodriguez
    Likable but uneven comedy by writer-directors Glenn Ficara and John Requa (Bad Santa).
    • 50 Metascore
    • 63 Rene Rodriguez
    It makes the predictable journey surprisingly fun and enjoyable.
    • 58 Metascore
    • 63 Rene Rodriguez
    The movie is unwieldy and overstuffed with subplots - and, at 2 1/2 hours, probably too much misery and sorrow for most viewers.
    • 82 Metascore
    • 63 Rene Rodriguez
    The movie's second half, which grows progressively sadder, also starts to feel a bit repetitive.
    • 74 Metascore
    • 63 Rene Rodriguez
    The script by Ben Ripley doesn't come up with enough obstacles to throw in the hero's path, and his budding romance with the doomed Christina feels more like a studio mandate than an organic development.
    • 70 Metascore
    • 63 Rene Rodriguez
    There are moments of heartbreaking beauty in it – although Dolan is still a work in progress. He'll get better – he's immensely talented – but he's not quite there yet.
    • 66 Metascore
    • 63 Rene Rodriguez
    The movie is at its best when Spurlock dives deep into his subject, interviewing directors such as J.J. Abrams and Quentin Tarantino.
    • 85 Metascore
    • 63 Rene Rodriguez
    To call Meek's Cutoff slow doesn't begin to describe its pace. There are stretches that are, frankly, boring. But the vivid details and intimacy you develop with these travelers sticks with you.
    • 58 Metascore
    • 63 Rene Rodriguez
    The result is that rare breed of big-studio pictures: A remake that makes sense.
    • 53 Metascore
    • 63 Rene Rodriguez
    If you can overlook the lack of logic inherent in its central conceit, In Time makes for a fun, stylish piece of speculative sci-fi.
    • 58 Metascore
    • 63 Rene Rodriguez
    The movie - which caused walkouts and an uproar at Sundance - rewards your endurance with an utterly insane 30-minute climax of violence, audacious gore and all-around bad behavior (how this picture got an R rating is baffling).
    • 59 Metascore
    • 63 Rene Rodriguez
    This is Eastwood's "Brokeback Mountain," chased by a healthy serving of "J.F.K."- style paranoia and conspiracies (Oliver Stone is going to love this movie.) But because so much of what the film says about Hoover remains speculative and unproven, J. Edgar can't fully cross all its Ts.
    • 45 Metascore
    • 63 Rene Rodriguez
    Part 1 does something that no other previous Twilight movie had achieved: This one draws you close and keeps you there.
    • 58 Metascore
    • 63 Rene Rodriguez
    We Bought a Zoo is the most formulaic movie Cameron Crowe has ever made: It is so generic, you could review it with a flow chart.
    • 51 Metascore
    • 63 Rene Rodriguez
    There's a frothy, almost whimsical undercurrent quietly bubbling beneath the dead-serious story, and it finally bursts to the forefront in the ridiculously happy finale, which argues without the slightest bit of shame that crime sometimes does pay - really, really well.
    • 54 Metascore
    • 63 Rene Rodriguez
    Like a lot of anime, the movie remains entertaining even when you have no idea what's going on.
    • 52 Metascore
    • 63 Rene Rodriguez
    The fact that the entire film is in Spanish, and Ferrell plays a Mexican named Armando, are two of the tamest elements in the movie.
    • 53 Metascore
    • 63 Rene Rodriguez
    Hysteria never gets too preachy or ponderous, and there's something in the film to educate even the most learned viewer.
    • 72 Metascore
    • 63 Rene Rodriguez
    None of this is all that engaging. But the art design of the movie makes up for the slack story.
    • 48 Metascore
    • 63 Rene Rodriguez
    The film's earnestness makes up for its high corn factor.
    • 50 Metascore
    • 63 Rene Rodriguez
    Everyone in Hit and Run is clearly having a good time. It's the audience that gets left out of the fun.
    • 73 Metascore
    • 63 Rene Rodriguez
    Even at his worst - and Robert does some awful things - the actor almost makes you root for him, hoping he'll get away with it.
    • 55 Metascore
    • 63 Rene Rodriguez
    The film also plays to the strengths of the found-footage format, proving that sometimes the scariest things are the ones you can barely see. For horror hounds, this is required viewing.
    • 55 Metascore
    • 63 Rene Rodriguez
    If you're interested in the sheer craft of filmmaking, Cloud Atlas is required viewing - a rare example of a movie getting by entirely on technique and creative bravado.
    • 48 Metascore
    • 63 Rene Rodriguez
    Bullet in the Head is a throwback to the past with its eyes trained on the present, and it proves Hill has kept up with the times.
    • 53 Metascore
    • 63 Rene Rodriguez
    Despite its astronomical body count, John Dies at the End never takes itself seriously, and neither should you.
    • 62 Metascore
    • 63 Rene Rodriguez
    Marvel Studios will only be able to draw from this well only so many times, though, before fatigue sets in.
    • 72 Metascore
    • 63 Rene Rodriguez
    In the House seems to be building toward a cathartic and unexpected finale. Instead, you get a baffling fizzle — an inexcusably limp and unimaginative conclusion that doesn’t bring a single plot strand to a satisfying end.
    • 84 Metascore
    • 63 Rene Rodriguez
    It's Leigh's rawest, most self-indulgent film to date. At times the movie seems to go on and on, noisily spinning its wheels. There's no dramatic arc to speak of, and the scenes in his girlfriend's flat are much less involving than Johnny's street experiences... Whenever the movie lets Johnny loose to wreak his own brand of hellish emotional havoc, however, Naked seethes with primal fury. [25 Feb. 1994, p.G5]
    • Miami Herald
    • 64 Metascore
    • 63 Rene Rodriguez
    It’s the cinematic equivalent of a kid playing with his toys and smashing action figures together, except del Toro does it with more grace and imagination than most. There are long sequences in this movie that merit that most overused of terms, “awesome.”
    • 47 Metascore
    • 63 Rene Rodriguez
    The movie shouldn’t be dismissed outright, either. It’s a creepy experiment that stays with you.
    • 66 Metascore
    • 63 Rene Rodriguez
    Lee Daniels’ The Butler is creaky and sentimental and schmaltzy. The movie lacks any of the unhinged qualities of Daniels’ previous films (The Paperboy, Precious, Shadowboxer).
    • 74 Metascore
    • 63 Rene Rodriguez
    Too bad, then, that after two hours of such relentless tension, Prisoners starts revealing its secrets to progressively hokier effect.
    • 51 Metascore
    • 63 Rene Rodriguez
    Parkland is wildly uneven, although compulsively watchable.
    • 49 Metascore
    • 63 Rene Rodriguez
    One of the surprises of Spike Lee’s Oldboy is just how dark the film dares to get.
    • 60 Metascore
    • 63 Rene Rodriguez
    Much like the first film, Nymphomaniac Vol.2 isn’t remotely erotic or a turn-on — it’s a curiously intellectual experience that doesn’t move you below the neck, including the heart.
    • 65 Metascore
    • 63 Rene Rodriguez
    Owing to a supremely engaging cast, The Client turns out to be stand-up Hollywood entertainment. Grisham's uninspired storyline can't ruin the efforts of two of the industry's best actors at the top of their form. [20 July 1994, p.E2]
    • Miami Herald
    • 53 Metascore
    • 63 Rene Rodriguez
    The Signal is too ambitious for its own good: The movie is built on shells of ideas and concepts that haven’t been fully thought out, and once it’s over, the movie collapses the more you think about it.
    • 49 Metascore
    • 50 Rene Rodriguez
    The movie's exploration of prejudice within the military is certainly on target, but it's presented with all the finesse of a classroom civics lesson.
    • 56 Metascore
    • 50 Rene Rodriguez
    Unfortunately, disappointingly dull, a lumbering Bore-us-saurus of a movie.
    • Miami Herald
    • 25 Metascore
    • 50 Rene Rodriguez
    Corny? You bet. But it also proves surprisingly inviting -- for a while, anyway.
    • Miami Herald
    • 56 Metascore
    • 50 Rene Rodriguez
    The best stuff in Human Nature comes early, while the movie is still spry and daring --Then the film runs out of ideas, repetition sets in and so does boredom.
    • 48 Metascore
    • 50 Rene Rodriguez
    Never feels like anything more than a Saturday morning cartoon pumped up to big-screen dimensions.
    • 51 Metascore
    • 50 Rene Rodriguez
    Seems to vanish from memory even as you're watching it. The movie is an exercise in minimalist storytelling.
    • 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.
    • 36 Metascore
    • 50 Rene Rodriguez
    Dismayingly predictable and rote, a simple premise played out in the most obvious way possible.
    • Miami Herald
    • 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.
    • 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.
    • 46 Metascore
    • 50 Rene Rodriguez
    Even the women in Festival in Cannes feel more like sketches than fully realized people -- the aging actress, the naive hopeful, the newly minted starlet -- leaving you nothing but the showbiz satire to chew on.
    • 45 Metascore
    • 50 Rene Rodriguez
    Disappointingly straightforward remake.
    • 40 Metascore
    • 50 Rene Rodriguez
    A biopic that is as messy as the life it details.
    • Miami Herald
    • 40 Metascore
    • 50 Rene Rodriguez
    A shapeless, chaotic, overly frantic comedy that manages to make almost no sense, even if you're paying close attention.
    • 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
    • 30 Metascore
    • 50 Rene Rodriguez
    So lazy and rote, it feels like a rerun the first time you watch it.
    • 52 Metascore
    • 50 Rene Rodriguez
    A facile treatment of a complicated subject.
    • Miami Herald
    • 50 Metascore
    • 50 Rene Rodriguez
    Lack of any real substance.
    • 56 Metascore
    • 50 Rene Rodriguez
    Chow Yun-Fat is the only reason to see Anna and the King -- the only thing you'll remember from this lavish, tastefully dull movie.
    • Miami Herald
    • 47 Metascore
    • 50 Rene Rodriguez
    The lack of cynicism is refreshing, but someone needed to tell Redford pixie dust and a nine-iron will only get you so far.
    • 56 Metascore
    • 50 Rene Rodriguez
    A blatant sell-out, a wink-nudge pander to Hollywood, disguised as satire.
    • Miami Herald
    • 75 Metascore
    • 50 Rene Rodriguez
    Feels like the shell of a wonderful story.
    • Miami Herald
    • 46 Metascore
    • 50 Rene Rodriguez
    Inadvertently does with the civil rights movement exactly what Banderas set out not to do: trivializes it.
    • Miami Herald
    • 46 Metascore
    • 50 Rene Rodriguez
    It might have all seemed hip and edgy 10 years ago, but today, it just feels tired.
    • Miami Herald
    • 62 Metascore
    • 50 Rene Rodriguez
    All the right elements for a rollicking farce, except one: The movie isn't funny.
    • Miami Herald
    • 43 Metascore
    • 50 Rene Rodriguez
    The real love affair in For Love of the Game is between Costner and himself.
    • 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.
    • 62 Metascore
    • 50 Rene Rodriguez
    Aggressively bland coming-of-age story.
    • Miami Herald
    • 58 Metascore
    • 50 Rene Rodriguez
    The only thing the movie lacks is a pulse.
    • 45 Metascore
    • 50 Rene Rodriguez
    It's bottom-feeder entertainment wrapped up in high-minded airs.
    • 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.
    • 70 Metascore
    • 50 Rene Rodriguez
    A relentless descent into a psychedelic hell, a rambunctious feel-bad epic.
    • 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.
    • 54 Metascore
    • 50 Rene Rodriguez
    There's no bite or sting, nor is there a single moment when the film is anything close to scary. It isn't ever engaging, either; it's a dull, sluggish bum-out.
    • 67 Metascore
    • 50 Rene Rodriguez
    Jarmusch has never seemed quite this baffling -- or quite this dull.
    • Miami Herald
    • 52 Metascore
    • 50 Rene Rodriguez
    In his quest to capture truth and honesty, (Korine) has made a movie that is practically impossible to like.
    • 55 Metascore
    • 50 Rene Rodriguez
    It's like a tantalizing CliffsNotes version of what could have been.
    • Miami Herald
    • 51 Metascore
    • 50 Rene Rodriguez
    The script is riddled with so many clichés, you count on the battle scenes to wake you from your stupor.
    • 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.
    • 43 Metascore
    • 50 Rene Rodriguez
    Often feels choppy, as if chunks of connecting narrative had been lopped off in the editing room.
    • 50 Metascore
    • 50 Rene Rodriguez
    Hollow and pointless.
    • 52 Metascore
    • 50 Rene Rodriguez
    Comes off as an episode of "Beverly Hills, 90210" where, instead of spoiled rich kids, the characters are all ballet stars in the making.
    • Miami Herald
    • 39 Metascore
    • 50 Rene Rodriguez
    Stops dead the second the monsters fall out of view. It doesn't help that the movie's post-apocalyptic future is of the unimaginative backlot variety, or that the movie takes itself so seriously.
    • 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.
    • 58 Metascore
    • 50 Rene Rodriguez
    It plunges so deep, in fact, that the film winds up bordering on the unwatchable.
    • 49 Metascore
    • 50 Rene Rodriguez
    Hilarious, but it isn't much of a movie.
    • Miami Herald
    • 62 Metascore
    • 50 Rene Rodriguez
    It''s loud and flashy and fun to look at, but you''ll grow tired of it very quickly.
    • 64 Metascore
    • 50 Rene Rodriguez
    The movie is polished, well-acted and atmospheric, but still pure formula, and not very scary, either.
    • 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.
    • 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
    • 33 Metascore
    • 50 Rene Rodriguez
    The Wedding Planner dissolves into a mopey, leaden romance that piles on the contrivances before limping to its foregone -- and rote -- conclusion.
    • 59 Metascore
    • 50 Rene Rodriguez
    A stale pastiche of crime-caper dramas that goes through all the usual reversals, betrayals and triple-crosses with a sense of weary obligation.
    • 49 Metascore
    • 50 Rene Rodriguez
    The 6th Day gets a lot of mileage out of Schwarzenegger, who once seemed incapable of playing anything other than a cartoon but is becoming more and more of a "real" person with age.
    • Miami Herald
    • 43 Metascore
    • 50 Rene Rodriguez
    Doesn't make much sense on a story level, and it has a cheap, slapdash look that indicates no one behind the camera was interested in anything other than another fat payday.
    • Miami Herald
    • 20 Metascore
    • 50 Rene Rodriguez
    The movie is a lowbrow showcase for an equally lowbrow comedian, and how much of it you can endure depends entirely on how you feel about Kattan.
    • 50 Metascore
    • 50 Rene Rodriguez
    Angry, potentially offensive movie.
    • Miami Herald
    • 69 Metascore
    • 50 Rene Rodriguez
    It feels like three movies stitched together.
    • 35 Metascore
    • 50 Rene Rodriguez
    The third -- and thinnest and weakest and least funny -- installment in Ice Cube's popular Friday series.
    • 44 Metascore
    • 50 Rene Rodriguez
    With all the obvious work that went into this beautifully detailed, giant-scale movie, and considering the historical importance of the subject matter, was it too much to ask for a trace of intelligence, or maturity, or even insight?
    • Miami Herald
    • 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.
    • 45 Metascore
    • 50 Rene Rodriguez
    The good news about The Scorpion King is that The Rock turns out to be a charismatic, ingratiating screen presence.
    • 66 Metascore
    • 50 Rene Rodriguez
    It's a clammy, depressing movie, but not a very illuminating one.
    • 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.
    • 54 Metascore
    • 50 Rene Rodriguez
    Like the type of music it celebrates, Rock Star is just a lot of posing, adding up to very little.
    • 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.
    • 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.
    • 24 Metascore
    • 50 Rene Rodriguez
    Turns resoundingly dumb in its last 40 minutes.
    • Miami Herald
    • 39 Metascore
    • 50 Rene Rodriguez
    The movie's hokey mysticism and heaving melancholy is closer in spirit to a solemn Hallmark greeting card.
    • 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
    • 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.
    • 64 Metascore
    • 50 Rene Rodriguez
    Repetitious, uneventful and, in the end, dull.
    • 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.
    • 55 Metascore
    • 50 Rene Rodriguez
    What's missing, really, is a point. Like "Snow Falling on Cedars," Hicks composes every shot in Hearts in Atlantis as if it were his last.
    • 34 Metascore
    • 50 Rene Rodriguez
    It does boast loads of cool gadgetry and some impressive special effects. It's not much, but at least the movie always gives you something to look at.
    • 49 Metascore
    • 50 Rene Rodriguez
    Because it's Pacino, though, Simone is never quite boring.
    • 56 Metascore
    • 50 Rene Rodriguez
    If nothing else, the movie proves even the rich and famous make boring home videos.
    • Miami Herald
    • 57 Metascore
    • 50 Rene Rodriguez
    Lacks the one element that the filmmakers were most desperately aiming for: A genuine sense of fun.
    • Miami Herald
    • 61 Metascore
    • 50 Rene Rodriguez
    Worst of all is the movie's finale, a noble attempt to avoid an overly-pat conclusion that strays too far in the opposite direction.
    • 59 Metascore
    • 50 Rene Rodriguez
    A movie about grief for people who don't want to be upset too badly. It's a half-a-hankie tearjerker, a meek, polite weepie.
    • 48 Metascore
    • 50 Rene Rodriguez
    The Mummy was certainly no "Raiders," but as far as summer movies go, it was just good enough.
    • Miami Herald
    • 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
    A high-tech freak show, a gallery of grotesqueries that are fascinating and repellent.
    • Miami Herald
    • 50 Metascore
    • 50 Rene Rodriguez
    In Murder by Numbers, though, even Schroeder can't keep his own boredom from showing.
    • 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.
    • 30 Metascore
    • 50 Rene Rodriguez
    Here, finally, is a superhero movie your AP English teacher can enjoy.
    • 54 Metascore
    • 50 Rene Rodriguez
    The main problem with The Hulk, really, is that there isn't enough Hulk in it.
    • 40 Metascore
    • 50 Rene Rodriguez
    Winds up making a very good case for never going out of your way to help anybody.
    • Miami Herald
    • 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.
    • 42 Metascore
    • 50 Rene Rodriguez
    The whole enterprise sags and wheezes like the tired, we're-in-this-strictly-for-the-money sequel it really is.
    • 56 Metascore
    • 50 Rene Rodriguez
    Loud and frantic and filled with all sorts of business, but it's also empty and inert, a creative exercise that would have played better as a 30-minute short.
    • 43 Metascore
    • 50 Rene Rodriguez
    Best of all, though, is Seann William Scott as the profoundly annoying, profoundly vulgar Stifler.
    • 43 Metascore
    • 50 Rene Rodriguez
    A pastiche so derivative and pointless, it leaves you wishing Allen had not bothered.
    • 59 Metascore
    • 50 Rene Rodriguez
    The result leaves the movie feeling like a one-note take on a complex subject.
    • 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.
    • 47 Metascore
    • 50 Rene Rodriguez
    It's a testament to the personalities of the actors, as well as the foundation laid by the original film, that we retain an emotional connection to the main players in Revolutions.
    • 55 Metascore
    • 50 Rene Rodriguez
    It's crisp, efficient, well-made and strangely, vaguely dull.
    • 62 Metascore
    • 50 Rene Rodriguez
    Suffers from an episodic script and an overly long running time plagued by too many dull, laugh-free patches.
    • 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?
    • 56 Metascore
    • 50 Rene Rodriguez
    Irritating when it should be amusing, dumb when it should be zany, flat when it should be snappy.
    • 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.
    • 62 Metascore
    • 50 Rene Rodriguez
    The problem with Saved!, which is often bright and likable, is that its central point -- extremism, religious or otherwise, is bad -- is too obvious for a satire.
    • 42 Metascore
    • 50 Rene Rodriguez
    Isn't so much bad as it is puny: a sporadically amusing, occasionally funny, but ultimately bland and pointless time killer.
    • 55 Metascore
    • 50 Rene Rodriguez
    In Dodgeball, Vaughn is stuck playing the straight man to a collection of stooges, and he looks utterly bored doing it.
    • 56 Metascore
    • 50 Rene Rodriguez
    In I'll Sleep When I'm Dead, the night grows long while your eyelids grow heavy.
    • 63 Metascore
    • 50 Rene Rodriguez
    A lazy, self-satisfied piece of work -- a comedy made by people who think so highly of themselves, they assume they'll get a laugh just by showing up in front of the camera.
    • 59 Metascore
    • 50 Rene Rodriguez
    The themes of A Home at the End of the World are all of the greeting-card variety -- home is where the heart is, family is what we make it, etc. -- and while they've been presented with great warmth and sincerity, they still come off as more than a little banal.
    • 44 Metascore
    • 50 Rene Rodriguez
    I will tell you what The Village is not: It is not scary. It is not all that interesting. It isn't even much of a movie.
    • 66 Metascore
    • 50 Rene Rodriguez
    It is almost completely devoid of any trace of humor. It radiates a luxurious, all-encompassing mopeyness.
    • 61 Metascore
    • 50 Rene Rodriguez
    Criminal is happy to reprise Fabian Bielinsky's original note for note, and it's a listless, dutiful affair -- a cover version played out of obligation, not inspiration.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Rene Rodriguez
    Everyone up on the screen appears to be having so much fun, you wish the movie found a way to let you into the party.
    • 65 Metascore
    • 50 Rene Rodriguez
    One of the most pessimistic movies about love Hollywood has ever made, a star-studded, glossy anti-date movie.
    • 50 Metascore
    • 50 Rene Rodriguez
    The light-hearted fun seeps out of the movie, replaced by trite interludes of coming-out angst.
    • 62 Metascore
    • 50 Rene Rodriguez
    The movie still feels strangely inert; it's an adventure in which nothing ever really seems to happen.
    • 41 Metascore
    • 50 Rene Rodriguez
    Too much of this lame comedy feels like it was written to satisfy a contract, with gags (like the business with the perpetually horny dog or the toddler who knows sign language) that are way beneath the talents of this cast.
    • 50 Metascore
    • 50 Rene Rodriguez
    At its best when it simply lets Hoffman and De Niro play off each other .
    • Miami Herald
    • 56 Metascore
    • 50 Rene Rodriguez
    In an effort to turn Brashear's life into a larger-than-life sermon, Men of Honor almost manages to make it all feel like an overbearing crock.
    • 44 Metascore
    • 50 Rene Rodriguez
    It's pretty stupid, although it's never exactly boring.
    • 54 Metascore
    • 50 Rene Rodriguez
    Beautifully shot by the great Vilmos Zsigmond, the movie is watchable, sporadically amusing and ultimately frustrating, because Allen is capable of so much more, but doesn't appear interested -- or willing -- to push himself any longer.
    • 59 Metascore
    • 50 Rene Rodriguez
    Miller has crafted some intriguing, complex characters and stranded them in a muddled story that doesn't know quite what to do with them.
    • 41 Metascore
    • 50 Rene Rodriguez
    It's not that Sahara is offensively bad: It's just that the picture, loud and busy as it is, never really finds its own identity.
    • 56 Metascore
    • 50 Rene Rodriguez
    Fever Pitch is surprisingly devoid of jokes, or romance, or any of the other basic elements you'd expect to find in a romantic comedy. The only thing the Farrellys get right is the obsession.
    • 56 Metascore
    • 50 Rene Rodriguez
    Too much of Lords of Dogtown still feels conventional and sugar-coated.
    • 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).
    • 80 Metascore
    • 50 Rene Rodriguez
    The movie is practically incomprehensible.
    • 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.
    • 40 Metascore
    • 50 Rene Rodriguez
    Even if you can get past the acting -- and in the case of the beautiful, blank Alba, that's asking a lot -- the film just sits there, not exactly torturous, but never very exciting, either.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Rene Rodriguez
    There's no denying the movie's visceral impact: It's too bad, though, that Jakubowicz isn't aiming for anything other than sensation.
    • 51 Metascore
    • 50 Rene Rodriguez
    The Brothers Grimm gives you plenty to look at, but it's not much to see.
    • 49 Metascore
    • 50 Rene Rodriguez
    This is certainly not a movie worth going out of your way for, but don't be surprised if you happen to come across it on cable one rainy Sunday afternoon and find yourself watching it to the end. Even Lopez pulls off a few good moments.
    • 62 Metascore
    • 50 Rene Rodriguez
    Where the book was preciously and carefully crafted, the movie just feels precious.
    • 58 Metascore
    • 50 Rene Rodriguez
    After an hour of being stranded among these restless soldiers and their increasingly aggressive locker-room antics, you, too, will be longing for combat -- for anything -- to happen.
    • 54 Metascore
    • 50 Rene Rodriguez
    A drama about dysfunction, spelling bees, mental illness, Hare Krishnas and kaballah. The movie is just as unwieldy as it sounds, except that it also stars Richard Gere.
    • 69 Metascore
    • 50 Rene Rodriguez
    For all its splendor, The New World is really a love affair between Malick and his camera.
    • 53 Metascore
    • 50 Rene Rodriguez
    Doesn't conclude so much as just stop, because Brooks, having come up with a great hook for a movie, didn't bother to come up with a satisfying story to go along with it.
    • 45 Metascore
    • 50 Rene Rodriguez
    Although a happy ending is preordained, at least Joe Forte's script takes the less-obvious route there.
    • 43 Metascore
    • 50 Rene Rodriguez
    A slight, not entirely engaging mystery with slight overtones about the dangers of racial profiling that, unlike "Clockers," treats its urban-plight theme as a backdrop, instead of its main subject.
    • 52 Metascore
    • 50 Rene Rodriguez
    This slick, sick remake of the 1977 Wes Craven cult shocker is more of a glum bummer than a horror show.
    • 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.
    • 53 Metascore
    • 50 Rene Rodriguez
    Comes packed with so many plot twists and reversals, there's barely any room left over for a story: The movie is all clever gotchas and hoodwinks, without any substance to go along with them.
    • 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
    Falls far short of the sweep, complexity and passion it seeks.
    • 50 Metascore
    • 50 Rene Rodriguez
    Aside from a disturbingly graphic depiction of a drowning, there is also death by fire, electrocution and giant falling objects.
    • 57 Metascore
    • 50 Rene Rodriguez
    Director Scott Marshall and screenwriter Mark Zakarin pander to Jewish viewers the way Andy Garcia's "The Lost City" panders to Cuban Americans.
    • 53 Metascore
    • 50 Rene Rodriguez
    The worst kind of sequel -- the kind that exists only to give you more-more-more of what you liked the first time around, without ever justifying its own existence. This lavish, superbly designed film goes on for an exhausting 2½ hours.
    • 36 Metascore
    • 50 Rene Rodriguez
    It lacks the simplicity and resonance of classic fairy tales: It's so muddled and belabored, it's hard to imagine the tykes ever staying awake long enough to hear how it all turned out.
    • 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.
    • 68 Metascore
    • 50 Rene Rodriguez
    The Illusionist is dogged by an inert, stale aura that overcomes everything and everyone in the movie.
    • 49 Metascore
    • 50 Rene Rodriguez
    Beautifully crafted, intricately plotted and obviously a labor of love. It is also a mess.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Rene Rodriguez
    I'm not suggesting Costner and Kutcher should run out and remake "Butch Cassidy and the Sundance Kid" just yet, but in The Guardian, the two actors turn out to complement each other well enough to make a lot of this supremely derivative and formulaic picture go down better than it should.
    • 39 Metascore
    • 50 Rene Rodriguez
    It's the damndest thing, watching this light but genial movie self-destruct. It's as if writer-director Barry Levinson set out to sabotage his own film by gradually turning what should have been a minor subplot into the story's main subject.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Rene Rodriguez
    Deja Vu becomes increasingly sillier.
    • 64 Metascore
    • 50 Rene Rodriguez
    It's like watching "The Treasure of Sierra Madre" as remade by "Nightline."
    • 49 Metascore
    • 50 Rene Rodriguez
    Fascinating in concept but a disaster in execution.
    • 61 Metascore
    • 50 Rene Rodriguez
    The Good Shepherd, for all its noble intentions, manages to make even espionage boring.
    • 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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