Rene Rodriguez
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For 1,618 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 3.3 points higher than other critics. (0-100 point scale)

Rene Rodriguez's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Boyhood
Lowest review score: 0 The Watcher
Score distribution:
1,618 movie reviews
    • 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.
    • 43 Metascore
    • 50 Rene Rodriguez
    So superficial and formulaic that even Garner's mega-watt grin can't completely save it.
    • 27 Metascore
    • 50 Rene Rodriguez
    Although there's no denying the threadbare nature of the script, watching Murphy riff can be a formidable entertainment on its own.
    • 61 Metascore
    • 50 Rene Rodriguez
    Depends on one's ability to accept Sandler in the part: For me, the casting felt too much like a stunt, a filmmaker's compromise to get his intimate, uncommercial script green-lit.
    • 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.
    • 68 Metascore
    • 50 Rene Rodriguez
    A momentary diversion.
    • 50 Metascore
    • 50 Rene Rodriguez
    The longest and talkiest installment in the blockbuster Pirates trilogy, At World's End doesn't even have the decency to provide a good action sequence until more than two hours in.
    • 45 Metascore
    • 50 Rene Rodriguez
    The kind of movie that rockets so far beyond the line of credibility and so deeply into the realm of utter stupidity, you start to wonder if the filmmakers aren't putting you on.
    • 45 Metascore
    • 50 Rene Rodriguez
    Even within the context of the superhero universe, the Silver Surfer initially makes for -- let's face it -- a somewhat silly-looking creation.
    • 50 Metascore
    • 50 Rene Rodriguez
    By flaunting its own stupidity, The Ten practically dares you not to laugh at it, like a stand-up comic who sells an unfunny joke through the ferocity of his delivery.
    • 46 Metascore
    • 50 Rene Rodriguez
    It's whenever the music stops that the movie runs into trouble.
    • 55 Metascore
    • 50 Rene Rodriguez
    The thoroughly unconvincing drama Resurrecting the Champ might be based on a true story, but that doesn't mean you're going to believe a single frame of it.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Rene Rodriguez
    At least The Game Plan does have Johnson, whose innate charisma will make it easier for adult viewers to endure the film without ruing the decision to make a family outing to the multiplex.
    • 55 Metascore
    • 50 Rene Rodriguez
    None of the actors is able to do much with their characters, because they are all playing game pieces on a schematic board. Rendition has passion to spare, but it is saddled with a story designed exclusively to drive home the filmmakers' message.
    • 43 Metascore
    • 50 Rene Rodriguez
    Exactly the formulaic, by-the-numbers movie it appears to be. These Tigers deserved better.
    • 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.
    • 59 Metascore
    • 50 Rene Rodriguez
    Ultimately done in not just by its familiarity -- anyone who can't figure out where the story is heading hasn't watched enough Scorsese -- but also by the convenient coincidences and contrivances Gray relies on in order to pump the story into something greater than it needs to be.
    • 54 Metascore
    • 50 Rene Rodriguez
    Feels so slight and trivial, like a cute but small idea blown up to proportions it does not merit. A surprisingly unfunny, belabored and unimaginative comedy, Bee Movie is a huge disappointment considering the extent of Seinfeld's participation.
    • 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.
    • 61 Metascore
    • 50 Rene Rodriguez
    The Kite Runner is earnest and sentimental and formulaic and obvious. Watching it, I could understand the fuss over Khaled Hosseini's bestselling novel, but the film didn't make me want to read it. That's not a slam against the book, but a way of illustrating just how literal and bland the film adaptation turned out.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Rene Rodriguez
    If you're going to make a heist picture, then at least have the decency to make the heist itself interesting. Otherwise, do like Tarantino did in "Reservoir Dogs" and just skip it altogether.
    • 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.
    • 41 Metascore
    • 50 Rene Rodriguez
    The film emits a subtle yet distinct John Hughes vibe.
    • 61 Metascore
    • 50 Rene Rodriguez
    An earnest and well-meaning but disappointing failure.
    • 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 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.
    • 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.
    • 47 Metascore
    • 50 Rene Rodriguez
    Full Grown Men marks the feature debut of director David Munro, who was born and raised in Miami and shoots Florida like a native.
    • 53 Metascore
    • 50 Rene Rodriguez
    You know something's amiss when you're in the middle of a picture that runs under three hours and you're tempted to whip out your cellphone and send friends a text message that reads "Send food."
    • 58 Metascore
    • 50 Rene Rodriguez
    The film feels more like an extended epilogue than a stand-alone adventure, which may be because it is the shortest (105 minutes) entry in the series.
    • 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.
    • 56 Metascore
    • 50 Rene Rodriguez
    The bulk of Religulous is a passionate but misguided attempt by Maher to stimulate the 16 percent of the American population who deem themselves non-religious into standing up and being counted.
    • 52 Metascore
    • 50 Rene Rodriguez
    The most timid in the series. There's no invention in it, no sense of discovery. Only the impressively orchestrated action sequences feel fresh.
    • 43 Metascore
    • 50 Rene Rodriguez
    At least LaBeouf makes for a likable hero. He's got the same kind of easy, natural charisma as Will Smith -- who, come to think of it, starred in another techno-paranoia thriller, "Enemy of the State," that Eagle Eye strongly resembles.
    • 45 Metascore
    • 50 Rene Rodriguez
    It's lifted from pretty much every movie or TV show you've ever seen about police corruption, only not done as well.
    • 36 Metascore
    • 50 Rene Rodriguez
    The movie, which has more than 10 credited producers, feels like one of those slick, for-the-money projects Hollywood studios cook up via graph charts and marketing surveys.
    • 36 Metascore
    • 50 Rene Rodriguez
    What saves Fly Me to the Moon from being a total wash is the actual mission itself.
    • 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.
    • 57 Metascore
    • 50 Rene Rodriguez
    Emotes mightily but says precious little.
    • 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.
    • 38 Metascore
    • 50 Rene Rodriguez
    Crossing Over is a result of the sledgehammer approach writer-director Wayne Kramer (Running Scared, The Cooler) takes to his subject matter -- the same heavy-handed tactics that earned "Crash" three Oscars.
    • 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.
    • 36 Metascore
    • 50 Rene Rodriguez
    As written, Seven Pounds would have always been a melancholy experience, but a lighter touch would have helped to keep you from noticing the implausibility of its plot.
    • 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.
    • 43 Metascore
    • 50 Rene Rodriguez
    The first Hollywood horror flick I've seen that seems like it was made specifically for 12-year-olds.
    • 34 Metascore
    • 50 Rene Rodriguez
    A surprisingly straightforward romp in slasher-flick cliches, Friday the 13th is replete with gee-whiz gore, gratuitous sex and nudity and party-loving teens with a penchant for ending up on the wrong end of a pick ax.
    • 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:
    • 48 Metascore
    • 50 Rene Rodriguez
    Technically a prequel to "Da Vinci" but could also pass for a two-hour episode of "24," rarely stands still long enough for anyone to deliver a monologue.
    • 39 Metascore
    • 50 Rene Rodriguez
    What's missing is originality and story and inventiveness.
    • 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.
    • 41 Metascore
    • 50 Rene Rodriguez
    Little Ashes succumbs to the dreaded Masterpiece Theater syndrome as a talky historical drama weighed down by self-importance.
    • 46 Metascore
    • 50 Rene Rodriguez
    What ensues is an uneasy mix of farcical slapstick and comedy of errors with a violent, blood-soaked tale of inner-city crime.
    • 32 Metascore
    • 50 Rene Rodriguez
    The problem with I Love You, Beth Cooper is that aside from Denis' speech at the start, everything else seems familiar.
    • 50 Metascore
    • 50 Rene Rodriguez
    There is no faulting the big set pieces, which are shot and edited skillfully. But without involving characters to go along with them, those sequences make for awfully empty movie calories.
    • 55 Metascore
    • 50 Rene Rodriguez
    Awfully amiable and dull. Instead of honoring musical gods, the film seems to think Pat Boone was headlining.
    • 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.
    • 55 Metascore
    • 50 Rene Rodriguez
    Just plain silly.
    • 34 Metascore
    • 50 Rene Rodriguez
    Year One is not really THAT bad and not ENTIRELY without laughs.
    • 50 Metascore
    • 50 Rene Rodriguez
    A slow, inexorable slog to the titular event -- a public execution so inconceivably violent and brutal the movie practically dares you not to look away.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Rene Rodriguez
    A shrill and gaudy comedy about the quest for celebrity.
    • 44 Metascore
    • 50 Rene Rodriguez
    In the sequel, Weitz lays on a pop song and slow-motion during a critical scene involving the sudden reappearance of a fearsome villain, giving everything an MTV-slick, teen-friendly gloss and reminding you this is just a movie -- a somewhat silly and hollow one.
    • 58 Metascore
    • 50 Rene Rodriguez
    Brothers is a collection of strong moments that don't add up to anything. The movie is all build-up.
    • 43 Metascore
    • 50 Rene Rodriguez
    The finished film has been tinkered with and tweaked so thoroughly that it borders on the incomprehensible.
    • 19 Metascore
    • 50 Rene Rodriguez
    Nostalgia is part of the modest charm of this disposable but inoffensive picture. Old Dogs makes old dogs out of all of us.
    • 34 Metascore
    • 50 Rene Rodriguez
    The payback in Law Abiding Citizen doesn't have a cathartic kick, because the revenge is so extreme it's horrifying.
    • 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.
    • 58 Metascore
    • 50 Rene Rodriguez
    Although (Untitled) makes a spirited effort to mine comedy from its outre characters and the orbits they inhabit, the picture feels thin and wan, like a joke you've heard 100 times too many.
    • 49 Metascore
    • 50 Rene Rodriguez
    The result, as is always the case with short story collections, is a mixed bag, although unlike "Paris Je T'Aime," the duds outnumber the winners this time.
    • 54 Metascore
    • 50 Rene Rodriguez
    Much of The Men Who Stare at Goats is indeed amusing, although mostly in a mild, setting-the-stage kind of way, and your smiles eventually turn to yawns.
    • 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
    The result is earnest, admirable and more than a little dull -- a pedestrian movie about a remarkable subject.
    • 49 Metascore
    • 50 Rene Rodriguez
    Nine isn't so much a movie as it is a collection of standalone musical numbers, strung together by the thinnest of plots.
    • 82 Metascore
    • 50 Rene Rodriguez
    An artsy bore.
    • 34 Metascore
    • 50 Rene Rodriguez
    There are so many romantic-comedy cliches crammed into Valentine's Day that watching it feels like surfing through the channels of an all-chick-flick cable service.
    • 35 Metascore
    • 50 Rene Rodriguez
    In Happy Tears, Posey lands a juicy starring role designed to showcase her eccentric energy, and she's so delighted by the opportunity that her happiness infuses the movie: She keeps the first half of Happy Tears aloft on a cloud of endearing tics and mannerisms.
    • 43 Metascore
    • 50 Rene Rodriguez
    By turning Brooklyn's Finest into a morality tale, Fuqua lets the movie slip right through his undeniably talented fingers.
    • 65 Metascore
    • 50 Rene Rodriguez
    The Runaways ultimately feels too lethargic and conventional for the wild story it tells.
    • 63 Metascore
    • 50 Rene Rodriguez
    Cannot sustain the level of comic insanity the filmmakers hoped for -- no movie could -- although it's bound to play much better on late-night cable TV, especially when accompanied by a few beers and the occasional bong hit.
    • 35 Metascore
    • 50 Rene Rodriguez
    Freddy simply isn't as scary as he used to be, even though Jackie Earle Haley, taking over from Robert Englund in the role, plays Krueger essentially straight, keeping the one-liners to a minimum.
    • 57 Metascore
    • 50 Rene Rodriguez
    The main problem with Iron Man 2 lies in the script.
    • 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.
    • 62 Metascore
    • 50 Rene Rodriguez
    Micmacs is a wan fizzle of a fantasy, a spirited, imaginative spectacle that never quite takes flight.
    • 37 Metascore
    • 50 Rene Rodriguez
    Charlie St. Cloud is primarily a vehicle to prove the actor can do more than dance and sing. It's more of a demo reel for Efron than a movie. His predominant fan base, though, won't mind a bit.
    • 56 Metascore
    • 50 Rene Rodriguez
    The hands-down funniest elements in Dinner for Schmucks turn out to be the mice dioramas, which become increasingly clever - even touching - as the film unfolds, then laugh-out-loud hilarious over the end credits. But you know you're in trouble when the best thing in your movie is a bunch of dead rodents.
    • 55 Metascore
    • 50 Rene Rodriguez
    The story's historical setting is fascinating, but the movie is populated by thin, uninvolving characters.
    • 51 Metascore
    • 50 Rene Rodriguez
    As the character grows soft and sentimental, so does La Soga, and the film's edge is terminally dulled by an avalanche of cliches and schmaltz.
    • 63 Metascore
    • 50 Rene Rodriguez
    The more hellish the story gets, the sillier and less involving the movie becomes.
    • 82 Metascore
    • 50 Rene Rodriguez
    Although it deals with some monumental themes, Mademoiselle Chambon also feels wispy and inconsequential.
    • 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.
    • 54 Metascore
    • 50 Rene Rodriguez
    The movie is bouncy and zesty, its energy unflagging, and some of the big numbers are heavily tinged with Bollywood. Conceptually, it should have been a trip.
    • 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.
    • 51 Metascore
    • 50 Rene Rodriguez
    The talented cast fails to gel into a dynamic ensemble.
    • 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.
    • 56 Metascore
    • 50 Rene Rodriguez
    Starts out feeling formidable in scope and theme but ends up awfully small and precious.
    • 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.
    • 69 Metascore
    • 50 Rene Rodriguez
    Unstoppable is the slowest, talkiest movie you'll ever see about a runaway freight train loaded with toxic chemicals.
    • 51 Metascore
    • 50 Rene Rodriguez
    The actors are fine: It's their long, arduous trek that lets the movie down.
    • 49 Metascore
    • 50 Rene Rodriguez
    Curiously, TRON: Legacy makes the same mistake the original did: All the best stuff comes in the first act. The rest of the movie is as exciting as an overnight round of computer coding.
    • 51 Metascore
    • 50 Rene Rodriguez
    Casino Jack fails at its most critical mission: Laying out in clear detail exactly how and when Abramoff broke the law.
    • 45 Metascore
    • 50 Rene Rodriguez
    In Country Strong, the Oscar-winning Paltrow gets upstaged and outacted by the kid from "Tron" and the snotty brat from "Gossip Girl." Who'd have thought?
    • 66 Metascore
    • 50 Rene Rodriguez
    Its stop-and-start feel keeps you from ever getting fully absorbed in the story.
    • 57 Metascore
    • 50 Rene Rodriguez
    You watch it in stunned disbelief, wondering how a movie that started so strongly devolved into something so absurd.
    • 49 Metascore
    • 50 Rene Rodriguez
    The Mechanic remains singularly uninvolving - a rote exercise in a genre with characters so familiar they barely register.
    • 55 Metascore
    • 50 Rene Rodriguez
    Aside from the thin characterizations, The Eagle never manages to convey the importance of the heroes' quest.
    • 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.
    • 59 Metascore
    • 50 Rene Rodriguez
    For all its peripatetic energy, Limitless still winds up with the same-old blazing guns and wanton destruction of property. No matter how smart you may be, Hollywood will figure out a way to dumb you down.
    • 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.
    • 60 Metascore
    • 50 Rene Rodriguez
    I respected The Beaver for having the conviction to treat mental illness seriously and without compromise. But did it have to be so maudlin, too?
    • 40 Metascore
    • 50 Rene Rodriguez
    By the time Ceremony reaches its admittedly clever finale, you're too wrung out from Angarano's tiresome antics and Winkler's unconvincing dialogue to care who ends up marrying whom.
    • 44 Metascore
    • 50 Rene Rodriguez
    A severe bout of sequelitis afflicts this eagerly awaited but only sporadically amusing follow-up.
    • 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.
    • 76 Metascore
    • 50 Rene Rodriguez
    The main problem with Submarine is that Oliver is not a likable protagonist.
    • 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.
    • 55 Metascore
    • 50 Rene Rodriguez
    A continuous parade of slaughter.
    • 60 Metascore
    • 50 Rene Rodriguez
    Aside from its period New Zealand setting, there is little to distinguish Bride Flight from something you might watch briefly on Lifetime, then change the channel.
    • 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.
    • 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.
    • 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.
    • 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?
    • 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.
    • 56 Metascore
    • 50 Rene Rodriguez
    A big part of the problem comes in the casting. Guy Pearce and Katie Holmes - the kind of odd pairing of actors that comes only after your first and second choices have passed - are unconvincing and curiously unsympathetic as the architect Alex and his girlfriend.
    • 52 Metascore
    • 50 Rene Rodriguez
    Chasing Madoff is as much a journalistic exposé of Madoff as it is a love letter to Markopolos, shot in the style of "Natural Born Killers" by a director terrified of boring his audience. In Proserman, the documentary genre finds its own Michael Bay.
    • 59 Metascore
    • 50 Rene Rodriguez
    The film is just a procession of increasingly grim and ugly scenarios and discoveries, capped off by a wildly frustrating ending.
    • 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.
    • 44 Metascore
    • 50 Rene Rodriguez
    Killer Elite is too formulaic to overcome a been-there, done-that feel.
    • 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.
    • 59 Metascore
    • 50 Rene Rodriguez
    The best thing about this mildly diverting but instantly forgettable comedy is that it seems to have awakened something in Murphy that had laid dormant for much of the past two decades.
    • 52 Metascore
    • 50 Rene Rodriguez
    Still, this is one French comedy that could have used a little more hand wringing and a little less whimsy.
    • 69 Metascore
    • 50 Rene Rodriguez
    The movie fails utterly at coming up with a story that merits all the eye candy.
    • 61 Metascore
    • 50 Rene Rodriguez
    The entire point of Carnage is to poke fun at the fragile civility of the upper-middle class - they're all animals inside! - but how much more fun would this material have been if the story hadn't been about polite white people?
    • 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.
    • 62 Metascore
    • 50 Rene Rodriguez
    In his first starring role post-Harry Potter, Radcliffe must carry the movie with little dialogue and practically nothing to play other than fear, constantly reacting to creepy toys that suddenly spring to life and reflections in windows that shriek unexpectedly at him.
    • 60 Metascore
    • 50 Rene Rodriguez
    I haven't watched "Fargo" in a few years, but I still remember almost every scene. I saw Thin Ice two nights ago and cannot in all honesty tell you how it ends.
    • 38 Metascore
    • 50 Rene Rodriguez
    Eventually, though, Seeking Justice devolves into the usual business of chases and elaborate double-crosses that leave behind all vestiges of realism for the sake of popcorn thrills.
    • 60 Metascore
    • 50 Rene Rodriguez
    A surprisingly sappy misfire from brothers Jay and Mark Duplass, a hug-it-out, touchy-feely movie that succumbs to the maudlin sentimentality they had avoided in all their previous pictures (The Puffy Chair, Baghead, Cyrus).
    • 67 Metascore
    • 50 Rene Rodriguez
    The Hunger Games takes no risks.
    • 49 Metascore
    • 50 Rene Rodriguez
    The actors, many of them now in their mid-30s, look understandably fuller in the face and thicker around the waist. The jokes, too, are starting to show their age: They wobble.
    • 44 Metascore
    • 50 Rene Rodriguez
    For a good hour or so, The Raven is gruesome, ludicrous fun. Then it's just ludicrous.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Rene Rodriguez
    As Seeking a Friend for the End of the World crawls toward its sentimental finale, you're rooting for that asteroid to get here, quick.
    • 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.
    • 54 Metascore
    • 50 Rene Rodriguez
    To Rome with Love is so inviting, and most of its gaggle of characters so diverse and likable, it's doubly disappointing that Allen, who wrote and directed the movie, can't think of what to do with them.
    • 61 Metascore
    • 50 Rene Rodriguez
    It looks fantastic, but it's also hard to sit through, because by that point The Bourne Legacy has repeatedly proven there are no surprises to be had here, no more fresh stories to be mined from this well. The stunts look exhausting, though. No wonder Damon bailed.
    • 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.
    • 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).
    • 62 Metascore
    • 50 Rene Rodriguez
    You end up feeling sorry for all the actors forced to humiliate themselves, except for McConaughey, whose portrayal of sadistic, manipulative evil is mesmerizing, in part because it was so unexpected. He continues to surprise. Friedkin, sadly, continues to coast.
    • 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.
    • 66 Metascore
    • 50 Rene Rodriguez
    For a good hour, Seven Psychopaths is lively, bloody fun. Then the yawning starts.
    • 50 Metascore
    • 50 Rene Rodriguez
    Reacher is so good at everything he does, and Cruise plays him in such a robotic manner, that the movie becomes a bit of a bore: The hero is practically omnipotent.
    • 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
    • 57 Metascore
    • 50 Rene Rodriguez
    Evil Dead is just a well-made gross-out, and it's kind of a bummer.
    • 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.
    • 54 Metascore
    • 50 Rene Rodriguez
    For its first hour or so, Oblivion is a visually mesmerizing, intriguing picture that doesn’t feel like the same-old: It engages your eyes and piques your curiosity. Then, gradually, the novelty wears off, the clichés start to pile up and we’re back to Post-Apocalyptic Dystopia 101.
    • 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.
    • 33 Metascore
    • 50 Rene Rodriguez
    There’s nothing more to this movie than the set-up. Even though Cypher is slowly bleeding to death, and Kitai is running out of oxygen capsules that allow him to breathe in the toxic air, there’s no sense of urgency, either. At least Shyamalan, sensing the thinness of the material, doesn’t stretch things out.
    • 42 Metascore
    • 50 Rene Rodriguez
    The picture is perfectly watchable but rarely compelling, because the filmmakers are too timid to take any chances.
    • 48 Metascore
    • 50 Rene Rodriguez
    Altman seems lost here. We expect Ready to Wear to go behind the glamour of the fashion industry, uncover the pimples and scars on those flawless faces and bodies, wrinkle a few overpriced cat suits. But the movie is as superficial as its subject. [24 Dec 1994, p.G1]
    • Miami Herald
    • 57 Metascore
    • 50 Rene Rodriguez
    It's an obviously personal work, and that's both its primary strength and weakness: The movie has a distinct, carefully detailed sense of place and time, but it's also not as involving as Altman seems to think it is. It's thick on atmosphere, but short on plot. [16 Aug 1996, p.6G]
    • Miami Herald
    • 55 Metascore
    • 50 Rene Rodriguez
    What went wrong with Man of Steel? The early teasers promised Terrence Malick. The finished film is more Michael Bay.
    • 63 Metascore
    • 50 Rene Rodriguez
    Although there are some initial feints at using zombies as a metaphor for third-world issues and cultural differences, the picture forgets all that stuff by the final reel. World War Z opens with an undeniable bang. But if this is the way the world ends, we’re going out with a whimper.
    • 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.
    • 37 Metascore
    • 50 Rene Rodriguez
    There’s a rollicking Wild West adventure buried deep inside The Lone Ranger, a bloated, mega-budget revival of the story of the iconic gunslinger and his Native American sidekick Tonto.
    • 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.
    • 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
    • 55 Metascore
    • 50 Rene Rodriguez
    The phrase “casting is everything” has never felt truer than it does with 2 Guns, an unremarkable, standard-issue shoot-em-up that rests entirely on the charisma of its two stars.
    • 51 Metascore
    • 50 Rene Rodriguez
    Lovelace is a timid gloss over on a hardcore subject — a movie that takes a wild true story and shoehorns it into a formulaic mold.
    • 41 Metascore
    • 50 Rene Rodriguez
    What seemed edgy and brash in Kick-Ass is now routine and old-hat. The first movie was a brash satire on formulaic comic-book movies — exactly the sort of picture the sequel turns out to be.
    • 44 Metascore
    • 50 Rene Rodriguez
    Jobs works much better as a history of Apple than it does as a portrait of the genius who dreamed it up.
    • 33 Metascore
    • 50 Rene Rodriguez
    Start with a heaping helping of "Buffy the Vampire Slayer." Throw in some "Percy Jackson," a dash of "Twilight," a spoonful of "The Vampire Diaries" and a sprinkling of "Harry Potter," and you end up with The Mortal Instruments: City of Bones.
    • 53 Metascore
    • 50 Rene Rodriguez
    What Passion ultimately lacks most, ironically, is passion, the artistic fervor that distinguished all his best pictures. This one feels like a throwaway by a gifted filmmaker who has run out of ideas.
    • 53 Metascore
    • 50 Rene Rodriguez
    This Carrie becomes less involving as it goes along, ceding its emotional power to special effects and unconvincing gore, and culminating with a closing shot so lame and uninspired, it’s as if the filmmakers just gave up and called it a day.
    • 62 Metascore
    • 50 Rene Rodriguez
    Bad Milo! directly envokes a number of earlier pictures Vaughan clearly adores, including "Basket Case," "It’s Alive" and even the workplace satire "Office Space." But the movie fails to ground its promising (if preposterous) scenario in any kind of recognizable reality.
    • 54 Metascore
    • 50 Rene Rodriguez
    There’s a fleet and funny comic-book movie nestled inside Thor: The Dark World. You catch glimpses of it here and there.
    • 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.
    • 61 Metascore
    • 50 Rene Rodriguez
    Sunlight Jr. is what is often described as a slice-of-life drama, but this one is more of a tiny sliver, and it doesn’t leave you with much to chew on.
    • 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.
    • 65 Metascore
    • 50 Rene Rodriguez
    Saving Mr. Banks is two movies crammed into one cumbersome, overlong drama.
    • 64 Metascore
    • 50 Rene Rodriguez
    You expect something far different and better than the same-old.
    • 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
    • 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.
    • 39 Metascore
    • 50 Rene Rodriguez
    The movie is so grand in scale that you can’t help surrender to the spectacle, even if the stuff that’s going on with the people in the film is often close to risible.
    • 61 Metascore
    • 50 Rene Rodriguez
    One of the problems with director Mike Flanagan’s occasionally involving but ultimately dull thriller is that the whole movie hinges on a reflective piece of glass.
    • 81 Metascore
    • 50 Rene Rodriguez
    As intriguing as Hardy is to watch, the picture can’t overcome its cinematic-stunt vibe.
    • 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.
    • 51 Metascore
    • 50 Rene Rodriguez
    Yes, it creaks. It creaks mightily. But The Net cheerfully plugs along, asking you to swallow one whopper after the next without burping. [28 July 1995, p.6G]
    • Miami Herald
    • 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.
    • 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.
    • 32 Metascore
    • 50 Rene Rodriguez
    [A] visually stunning, technically impressive and crushingly dumb and overlong picture.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 50 Rene Rodriguez
    The problem with Men, Women & Children — and it’s a big one — is that the movie isn’t telling us anything we don’t already know.
    • 67 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.
    • 34 Metascore
    • 38 Rene Rodriguez
    A $100 million production of a 10-cent script, is so clunkily written, so bereft of any engaging ideas or emotions, you'd think De Palma would have sneered at it on first reading and passed
    • 41 Metascore
    • 38 Rene Rodriguez
    Feels static and constricted, its intensity dulled by overreliance on dialogue.
    • 67 Metascore
    • 38 Rene Rodriguez
    For the story of a man who made his mark on pop culture by being a likable buffoon, the irritatingly arch Confessions of a Dangerous Mind takes itself way too seriously.
    • 18 Metascore
    • 38 Rene Rodriguez
    The fact that Swept Away got made at all implies there simply is no dissuading Madonna from her movie-star aspirations. Her tenacity is admirable, but it's also block-headed.
    • 38 Metascore
    • 38 Rene Rodriguez
    Death to Smoochy? Yes, please.
    • 46 Metascore
    • 38 Rene Rodriguez
    Misses out on just about everything that made the original work, most notably Falk and Arkin, whose odd-couple pairing was the foundation on which the entire movie rested.
    • 34 Metascore
    • 38 Rene Rodriguez
    An overly convoluted, tiresome mystery that exists primarily to antagonize the audience, Basic consists almost entirely of dense exposition, then concludes by laughing at anyone who tried to pay attention.
    • 41 Metascore
    • 38 Rene Rodriguez
    This is a gleefully repulsive movie. Spun is bound to be described as bold and cutting-edge by those who confuse shock value with achievement. Most people, however, will just long for a shower after it's over.
    • 45 Metascore
    • 38 Rene Rodriguez
    A compendium of missed opportunities, uninspired action and clichés so tired, you wish the screenwriters had called 911, too.
    • 32 Metascore
    • 38 Rene Rodriguez
    No matter how much good will the actors generate, Showtime eventually folds under its own thinness.
    • 64 Metascore
    • 38 Rene Rodriguez
    An insufferably artsy, pretentious work, the sort of picture that gives art films a bad name.
    • 53 Metascore
    • 38 Rene Rodriguez
    There are frothy romantic comedies and then there is Jet Lag, a movie so thin it borders on nonexistence.
    • 38 Metascore
    • 38 Rene Rodriguez
    This new, presumably improved Chainsaw is just as humorless as the original, but it's also slicker, glossier and resoundingly artificial.
    • 46 Metascore
    • 38 Rene Rodriguez
    The movie is all moist grime and seedy atmosphere, and it's certainly something to look at: It's beautifully lurid. But it's an empty, unengaging movie, and by the end, it has become ridiculous, too.
    • 39 Metascore
    • 38 Rene Rodriguez
    In the end, they are only moments, and even at a merciful 86 minutes, Dirty Dancing: Havana Nights feels formidably long.
    • 38 Metascore
    • 38 Rene Rodriguez
    Even though Taking Lives is not very good, it does contain a) a cool car chase and b) a sex scene in which Jolie goes topless. For some, this will be enough entertainment.
    • 67 Metascore
    • 38 Rene Rodriguez
    Despite the actors' admirable efforts, everyone in The Door in the Floor is too affected, too fancifully written, to come off as anything other than conceits.
    • 49 Metascore
    • 38 Rene Rodriguez
    The unrelentingly dull Where the Money Is tests his (Newman's) legendary charisma in a way no actor could overcome.
    • 37 Metascore
    • 38 Rene Rodriguez
    A forced and wholly unnecessary sequel.
    • 31 Metascore
    • 38 Rene Rodriguez
    A fairly tedious, stupid picture.
    • 49 Metascore
    • 38 Rene Rodriguez
    Singleton's sloppiest, laziest movie to date, springing to life in fits and starts, risibly mawkish and occasionally gripping, and often feeling like it was made up on the set.
    • 45 Metascore
    • 38 Rene Rodriguez
    There's nothing here that hasn't been done before, and better, in any given "Halloween" or "Friday the 13th" sequel.
    • 47 Metascore
    • 38 Rene Rodriguez
    Has all the depth of an episode of "Joey."
    • 45 Metascore
    • 38 Rene Rodriguez
    It's a redundant comedy, like hearing the same tired joke for the 100th time.
    • 54 Metascore
    • 38 Rene Rodriguez
    Art School Confidential, the first disappointment from director Terry Zwigoff, is all glum, dour cynicism.
    • 58 Metascore
    • 38 Rene Rodriguez
    Neither as good nor as bad as you'd hoped it would be: It's just a mediocre exploitation picture with an inspired premise (succinctly spelled out by its title), loads of gratuitous gore, a dash of equally gratuitous nudity and enough inanities to make you wonder if Ed Wood rose from the grave to serve as a creative consultant on the project.
    • 36 Metascore
    • 38 Rene Rodriguez
    There are three or four big laughs scattered throughout The Pink Panther 2, along with a smattering of decent chuckles. But all those moments combined account for maybe five minutes of screen time, which leaves you with another hour and a half of movie to sit through.
    • 32 Metascore
    • 38 Rene Rodriguez
    More toy commercial than movie.
    • 32 Metascore
    • 38 Rene Rodriguez
    The whole thing feels at least three summers too stale.
    • 42 Metascore
    • 38 Rene Rodriguez
    The result is almost suffocating: a movie that has been tinkered and fussed with until there is no spontaneity left -- no warmth or life or messiness.
    • 53 Metascore
    • 38 Rene Rodriguez
    Certainly a grand-looking picture. For a film that's filled with CGI effects, there wasn't a single shot that looked artificial, and the production design is tremendous. But it's a hollow, boring spectacle.
    • 45 Metascore
    • 38 Rene Rodriguez
    Jason Statham gives the best performance. Dolph Lundgren gets the best character arc. Terry Crews gets the best gun. Jet Li gets the best kill (you'll know it when you see it).Arnold Schwarzenegger gets the best cameo. And Sylvester Stallone? He gets the blame.
    • 44 Metascore
    • 38 Rene Rodriguez
    You know this supposedly risqué comedy is in trouble when the funniest gag involves a foot cramp during sex.
    • 49 Metascore
    • 38 Rene Rodriguez
    There is absolutely nothing in this prequel/remake that improves on the first film or negates it in any way. If you've never seen The Thing - and you really should - stick with the genuine 1982 article and skip this elaborate act of mimicry.
    • 58 Metascore
    • 38 Rene Rodriguez
    The latest collaboration between Cohen and director Larry Charles proves the formula they created with "Borat" and then started to milk dry with "Brüno" has finally run out of juice. Time to move on, guys.
    • 57 Metascore
    • 38 Rene Rodriguez
    In Snow White and the Huntsman, this talented but woefully miscast actress (Stewart) is expected to rally an entire army of soldiers, even though she usually looks like she forgot the combination to her locker.
    • 40 Metascore
    • 38 Rene Rodriguez
    Homefront is done in by uninspired action scenes in which Statham’s athletic prowess is rendered unwatchable by hyper-editing, a shameful reliance on child-in-peril cliches to move the story forward, and so many loose ends that you wonder if 20 minutes were accidentally cut out from the movie.
    • 52 Metascore
    • 25 Rene Rodriguez
    So needlessly convoluted, so crammed with subplots within subplots, it simply forgets about its gangland "Romeo & Juliet" premise.
    • 37 Metascore
    • 25 Rene Rodriguez
    A Jerry Bruckheimer production, which gives the movie a disquieting sense of stupidity.
    • 30 Metascore
    • 25 Rene Rodriguez
    Silly, overplotted conspiracy thriller.
    • Miami Herald
    • 33 Metascore
    • 25 Rene Rodriguez
    The kind of schlocky, disposable time-killer that once might have starred Jean-Claude Van Damme, The Impostor is a relentlessly dull chase flick with an inexplicably high-toned cast.
    • 46 Metascore
    • 25 Rene Rodriguez
    The dullest, clunkiest, big-budget fantasy since Steven Spielberg flattened Peter Pan in "Hook."
    • Miami Herald
    • 57 Metascore
    • 25 Rene Rodriguez
    Shrill and sloppy film.
    • Miami Herald
    • 54 Metascore
    • 25 Rene Rodriguez
    But there's nothing in this amateurish movie that the opening credits of last year's "Go" didn't do better.
    • Miami Herald
    • 35 Metascore
    • 25 Rene Rodriguez
    A spectacularly mediocre movie.
    • 16 Metascore
    • 25 Rene Rodriguez
    At the very least, Corman would have remembered to make the movie fun.
    • 42 Metascore
    • 25 Rene Rodriguez
    A grand, eye-popping film, a beautifully photographed epic with the depth of a Bugs Bunny Cartoon.
    • Miami Herald
    • 31 Metascore
    • 25 Rene Rodriguez
    It's up to O'Donnell to carry the show, and he's simply not up to the task.
    • Miami Herald
    • 39 Metascore
    • 25 Rene Rodriguez
    One of the most anticlimactic finales I've ever seen in a movie
    • Miami Herald
    • 38 Metascore
    • 25 Rene Rodriguez
    Gives romance a bad name.
    • 45 Metascore
    • 25 Rene Rodriguez
    A hostage drama without any tension. It is a love story without any heat. It is as curiously empty a movie as we've seen all year.
    • 39 Metascore
    • 25 Rene Rodriguez
    The best thing you can say about Just a Kiss is that it isn't every romantic comedy that throws in suicide, bondage and a plane crash in between all the bed hopping.
    • 33 Metascore
    • 25 Rene Rodriguez
    Chasing Papi leaves you wishing Hollywood would just forget about Latinos altogether. If this is how they really see us, I'd rather not know.
    • 14 Metascore
    • 25 Rene Rodriguez
    A feather-light musical rushed into production to capitalize on American Idol-frenzy, is nothing more than an excuse to give the two leads several musical numbers, a la those Frankie Avalon-Annette Funicello "Beach Blanket Bingo" movies, and with just about the same amount of substance, too.
    • 27 Metascore
    • 25 Rene Rodriguez
    Never achieves takeoff.
    • 16 Metascore
    • 25 Rene Rodriguez
    The most intriguing thing about Lost Souls is how it managed to attract so much talent.
    • 42 Metascore
    • 25 Rene Rodriguez
    So thunderously unfunny...There is no reason for an 82-minute movie to feel so very, very long.
    • 44 Metascore
    • 25 Rene Rodriguez
    Looks exquisite, but don't bother digging deeper.
    • 35 Metascore
    • 25 Rene Rodriguez
    A horror/sci-fi/action mishmash that aims to be the kind of brainless timekiller once used to round out the bottom of a double bill at the drive-in.
    • 63 Metascore
    • 25 Rene Rodriguez
    The characters in Secretary never feel the least bit human. Their quirks, sexual and otherwise, are all on the surface. Inside, where it counts, nobody's home.
    • 38 Metascore
    • 25 Rene Rodriguez
    Witless, unoriginal mishmash of gangsta-drama clichés.
    • 25 Metascore
    • 25 Rene Rodriguez
    The dumbest, most risible retelling ever made of the exploits of legendary bank robber Jesse James.
    • 23 Metascore
    • 25 Rene Rodriguez
    Feels like it's been pasted together from 51 other movies -- none of them good.
    • 34 Metascore
    • 25 Rene Rodriguez
    It takes a concerted effort to make a movie as relentlessly stupid and grating as 15 Minutes.
    • Miami Herald
    • 29 Metascore
    • 25 Rene Rodriguez
    The movie is pure product, and proud of it: There isn't a single surprising moment in all of its 88 minutes, because Domestic Disturbance is designed to stick to tried-and-true formulas, instead of shaking them up a little.
    • 30 Metascore
    • 25 Rene Rodriguez
    Who writes this stuff, anyway? Does this not sound like utter gibberish? Surely, this film did not actually get made, did it? Yes, it did. I have seen it. But you, oh, fortunate one, don't have to. Consider yourself lucky.
    • 46 Metascore
    • 25 Rene Rodriguez
    It's all rote, sleep-inducing formula, but it might have still worked if the movie weren't so timid and unimaginative.
    • 14 Metascore
    • 25 Rene Rodriguez
    Glitter, the kind of movie only 11-year-old girls who dot their i's with hearts would find bearable.
    • 29 Metascore
    • 25 Rene Rodriguez
    Gas -- the hot air variety -- is exactly what Driven is made of.
    • Miami Herald
    • 58 Metascore
    • 25 Rene Rodriguez
    Drowns in its own noxious fumes. Who knew being bad could be so dull?
    • Miami Herald
    • 47 Metascore
    • 25 Rene Rodriguez
    Lands with a thud right from its painfully unfunny prologue and maintains its plodding, exasperating course straight through to its car-chase-and-shootout finale.
    • 27 Metascore
    • 25 Rene Rodriguez
    Winds up suffocating you with its aura of bogus, store-bought nostalgia.
    • Miami Herald
    • 36 Metascore
    • 25 Rene Rodriguez
    The movie's attempts at zaniness are flat, almost embarrassing.
    • Miami Herald
    • 25 Metascore
    • 25 Rene Rodriguez
    A fluffy, feel-bad drama, with some serious things to say about the viability of homosexual men as fathers and role models.
    • 25 Metascore
    • 25 Rene Rodriguez
    No atmosphere, no tension -- nothing but Costner, flailing away. It's a buggy drag.
    • 38 Metascore
    • 25 Rene Rodriguez
    The vilest film of the season.
    • 43 Metascore
    • 25 Rene Rodriguez
    Another joyless, brain-numbing adventure through lackluster Indiana Jones territory.
    • 13 Metascore
    • 25 Rene Rodriguez
    Formidably stupid.
    • Miami Herald
    • 18 Metascore
    • 25 Rene Rodriguez
    Gigli's awfulness is of a rarer, more precious variety. It's the sort of bizarre, ill-conceived picture you can't believe exists, but are secretly glad it does.
    • 32 Metascore
    • 25 Rene Rodriguez
    This is a disastrously clumsy, heavy-handed movie, one so desperate and exploitative that it resorts to putting a live grenade in the hands of a baby in order to get its message across.
    • 28 Metascore
    • 25 Rene Rodriguez
    Timeline gives Gigli serious competition for worst film of the year honors.
    • 45 Metascore
    • 25 Rene Rodriguez
    The performances are shaky, rendering Latter Days as a movie that you've seen before, and done better, too.
    • 55 Metascore
    • 25 Rene Rodriguez
    The scattershot nature of the script, which feels as if it had been made up on the spot, leaves the actors looking like they're enjoying some private joke not shared with the audience. Self-indulgent does not even begin to describe it.
    • 47 Metascore
    • 25 Rene Rodriguez
    There is so much that is wrong with The Alamo that it is easier to begin with what the movie gets right: Davy Crockett. As played by Billy Bob Thornton.
    • 40 Metascore
    • 25 Rene Rodriguez
    A failure on every conceivable level -- from its trite, pedestrian dialogue to its static, torturous pacing.
    • 24 Metascore
    • 25 Rene Rodriguez
    An unsatisfying, overly restrained bore, capped off by an ending so strange and inconclusive, it feels like something you'd find on the ''deleted scenes'' portion of a DVD.
    • 38 Metascore
    • 25 Rene Rodriguez
    Emits a fishy odor, like a recruitment film for an obscure cult you'd rather stay away from.
    • 28 Metascore
    • 25 Rene Rodriguez
    Lee remains a superb entertainer -- like Oliver Stone, he's incapable of ever being boring -- but in She Hate Me, he comes dangerously close to seeming trivial, a crank-for-crank's-sake.
    • 47 Metascore
    • 25 Rene Rodriguez
    For all its noble intentions, the movie is really a work of crass exploitation -- an obvious and manipulative grab to cash in on the post-9/11 hero worship of the firefighting profession.
    • 27 Metascore
    • 25 Rene Rodriguez
    If this is magic, I'll take "Gigli."
    • 19 Metascore
    • 25 Rene Rodriguez
    Bad enough to make even James Gandolfini and Catherine O'Hara seem dull.
    • 46 Metascore
    • 25 Rene Rodriguez
    Saw
    Where "Seven" seemed to radiate diabolical evil, Saw just radiates idiocy.
    • 38 Metascore
    • 25 Rene Rodriguez
    No, it's the movie itself -- an unimaginative, generic affair memorable only for its incessant and flagrant plugging of Apple computers and iPods -- that should put a stake through the franchise for good.
    • 43 Metascore
    • 25 Rene Rodriguez
    Taxes the patience of even the most willing viewer with its sheer nonsense: It's distractingly illogical.

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