For 767 reviews, this critic has graded:
  • 48% higher than the average critic
  • 0% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 5.9 points lower than other critics. (0-100 point scale)

Rex Reed's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Judge
Lowest review score: 0 Charlie Countryman
Score distribution:
767 movie reviews
    • 57 Metascore
    • 50 Rex Reed
    A middling attempt to peek through a lace curtain for a glimpse of the other Upstairs/Downstairs staff members only leads to too many distracting social functions that fail to relieve the film's otherwise solemn pacing.
    • 71 Metascore
    • 50 Rex Reed
    It’s a forgettable film, but what it says about the debilitating effect of technological abuse is sickening enough to make you think twice about upgrading your smartphone.
    • 62 Metascore
    • 50 Rex Reed
    In this overly familiar and ultimately meandering exercise in tedium, Mr. Burns also plays the lead.
    • 35 Metascore
    • 50 Rex Reed
    After Words is part adventure, part love story, part travelogue, and all as synthetic as rayon.
    • 77 Metascore
    • 50 Rex Reed
    It’s a movie that knocks itself cross-eyed trying to be hip, clever and today about acerbic seniors, but instead it only makes you long for old ladies in aprons exclaiming “Land sakes alive, I smell something burning in the oven!”
    • 36 Metascore
    • 50 Rex Reed
    If you have already begun to suspect that Something Borrowed may be something less than the sum of its parts-all of which do indeed seem borrowed from other movies and TV rom-coms too numerous to mention-you are right.
    • 62 Metascore
    • 50 Rex Reed
    It's a Clint Eastwood role that only proves you can't send a boy to do a man's job.
    • 47 Metascore
    • 50 Rex Reed
    The generic title In Secret is as uninspired as the movie itself.
    • 43 Metascore
    • 50 Rex Reed
    Far from the offbeat satire on the American dream gone sour it aims to be, The Brass Teapot is more like a dark flirtation with the American nightmare that backfires.
    • 36 Metascore
    • 50 Rex Reed
    Admirable and respectable, it engages you while you’re watching it, then leaves you empty and wanting more.
    • 36 Metascore
    • 50 Rex Reed
    Pan
    It’s not about Peter Pan, but about what happened before Peter Pan. The noise you hear is J. M. Barrie turning over in his grave.
    • 37 Metascore
    • 50 Rex Reed
    Dirty Girl is a bad movie with no insights that is broadly drawn and genuinely plagued by filthy dialogue. You don't laugh. You just wince, and wonder how the whole thing ever got financed.
    • 34 Metascore
    • 50 Rex Reed
    Not a masterpiece, perhaps, but technically polished, with inspired performances and enough suspense that by the time Mr. Hamm found the redemption that freed him from his own demons, I was so wired I needed a Valium.
    • 46 Metascore
    • 50 Rex Reed
    The entire movie is about as sexy as a root canal.
    • 65 Metascore
    • 50 Rex Reed
    This is an oddball tale that is well worth telling, but Mr. Carrey simply cannot resist turning it into a Three Stooges routine in drag.
    • 53 Metascore
    • 50 Rex Reed
    Too small and dark to appeal to a large audience, it's not a movie to cherish.
    • 53 Metascore
    • 50 Rex Reed
    Because it’s written and directed by slick slasher king Eli Roth (Cabin Fever, Hostel), expect some genuine, well-executed thrills that keep the adrenaline going. This is a good thing, because Keanu Reeves has the adrenaline rush of road kill.
    • 71 Metascore
    • 50 Rex Reed
    It's a fatiguing, low-key character study that drags along annoyingly and pleads for patience, but stick with it and you'll find the engrossing centerpiece performance by Ms. Theron a captivating reward that is well worth the effort.
    • 58 Metascore
    • 50 Rex Reed
    A well-meaning but desultory descent into darkness based on a memoir of the same name by Amy-Jo Albany, daughter of Joe Albany, the great jazz pianist who died in 1988 at age 63. The book, published in 2003, was subtitled Junk, Jazz and Other Fairy Tales From Childhood, and that just about covers it.
    • 51 Metascore
    • 50 Rex Reed
    This dumb movie turns from dubious to preposterous.
    • 42 Metascore
    • 50 Rex Reed
    The best thing here is the muted cinematography, which caresses the wet leaves and cloudy purple Tuscan skies like an old Italian master oil painting that comes to life. In the desultory Voice From the Stone, it’s the only thing that does.
    • 37 Metascore
    • 50 Rex Reed
    One thing that defies debate: Zac Efron is going places as an actor of value. But he deserves better movies than Charlie St. Cloud.
    • 30 Metascore
    • 50 Rex Reed
    The movie, which has all the freshness and insight of a Movie of the Week on the Hallmark channel, is a first for the writer-director, which probably accounts for its lack of any definitive style or focus.
    • 49 Metascore
    • 50 Rex Reed
    My boy Viggo is always fascinating, but the movie is a concept searching for a story.
    • 45 Metascore
    • 50 Rex Reed
    As the narrative builds, the movie shows how the harassed and impatient Chinese-American finds tolerance, acceptance of others, inner salvation and love. A lot for one movie to negotiate, not always successfully, but the enjoyment factor is obvious.
    • 42 Metascore
    • 50 Rex Reed
    The theme is racism, insanity and savage brutality in Texas. Some things never change. I guess it’s a new-fangled old-fashioned western.
    • 52 Metascore
    • 50 Rex Reed
    The movie doesn’t know if it’s a teen fantasy-romance or a more sophisticated satire that the material can’t support.
    • 66 Metascore
    • 50 Rex Reed
    It shouldn’t happen to a dog — or to an audience of dog lovers.
    • 64 Metascore
    • 50 Rex Reed
    This movie is not without its moments of visual interest, but for a more comprehensive study of Baker’s life and career, read James Gavin’s book Deep in a Dream, or better yet, curl up with the real deal and a glass of wine and listen to what used to be.
    • 32 Metascore
    • 50 Rex Reed
    Sliding down the James Franco hole is not an attractive career goal, but in his (Jonas) new movie Careful What You Wish For, there is evidence that he is at least learning how to act.
    • 33 Metascore
    • 50 Rex Reed
    Unfortunately, there aren’t many thrills and the pace is so slow that I fell asleep from tedium waiting for something that resembled a goose bump.
    • 75 Metascore
    • 50 Rex Reed
    For the Edgerton brothers and for their protagonists, The Square works on several levels, as it shows how far two people will go for love and profit--in more ways than one.
    • 35 Metascore
    • 50 Rex Reed
    By the way, for reasons nobody bothers to explain, Las Vegas is played by New Orleans. Go figure.
    • 34 Metascore
    • 50 Rex Reed
    The formulaic cat-and-mouse game played to the death rattle by Michael Douglas’ rich, vicious corporate maniac and Jeremy Irvine’s nice, clean-cut, homespun country boy in Beyond the Reach is so old it’s hairy.
    • 50 Metascore
    • 50 Rex Reed
    True Story trips and stumbles so much in the telling that you don’t know what to believe, and instead of one man’s irony you end up with two men’s lies.
    • 72 Metascore
    • 50 Rex Reed
    The best thing about Super 8, by far, are the kids, all perfectly cast. The script does a much better job making them believable and real than the adults...The rest of the movie steals shamelessly from...
    • 51 Metascore
    • 50 Rex Reed
    Young Mr. Eisenberg and a fine cast give Holy Rollers the ballast it otherwise lacks, but we've been down this road so often that there are times when I could only wonder why I was watching it at all.
    • 68 Metascore
    • 50 Rex Reed
    A good cast and the speed-dial theme of eco-terrorism should really add up to a film of more substantial mind over matter than the dull, talky and ultimately pointless espionage thriller The East.
    • 28 Metascore
    • 50 Rex Reed
    Liam Hemsworth, the Ben & Jerry Flavor of the Month, is a sexy Australian centerfold without a trace of an accent who can actually act. His love interest is Teresa Palmer, a fellow Aussie who recently starred in the zombie flick "Warm Bodies." They may be camera-ready smoothies who take their clothes off often enough to keep the teen dweebs drooling.
    • 71 Metascore
    • 50 Rex Reed
    Not everything from Ireland travels as well as the whiskey. Like mud-thick porridge, Shadow Dancer, another dreary, confusing conspiracy thriller about the Irish “troubles,” is one of them.
    • 46 Metascore
    • 50 Rex Reed
    The result is not without a few moments of exhilaration, although the overall effect is more like the Bard of Avon meets "Glee."
    • 59 Metascore
    • 50 Rex Reed
    Directed with a pulsating fervor by Neil Burger, Limitless is absurd but entertaining action-adventure escapism. Bradley Cooper is versatile and virile, and a valiant leading man.
    • 27 Metascore
    • 50 Rex Reed
    Stranded is no blockbuster, but it manages to pass the time better than most of them have done in this summer of discontent.
    • 54 Metascore
    • 50 Rex Reed
    Written by Emma Thompson, it’s literate and respectful, but a dose of lithium in a champagne glass that is too stolid to ever come alive.
    • 40 Metascore
    • 50 Rex Reed
    One of the least likable characters (Cox) in recent memory--irascible, but with moments of real tenderness--he’s the reason this strange movie takes on a perverse charm that is uniquely its own.
    • 33 Metascore
    • 50 Rex Reed
    The dependable Australian actor Guy Pearce is always welcome, even in a well-meaning dud like 33 Postcards.
    • 58 Metascore
    • 50 Rex Reed
    Directed by the accomplished Joshua Marston, who made the riveting "Maria Full of Grace," this one is slick and wonderful to look at but too slight to hold its own weight and too inconsequential to generate much suspense.
    • 55 Metascore
    • 50 Rex Reed
    You can't fault the theme that life's darkest moments brighten when two people need each other, but there's no drug strong enough to get me through another movie like Love and Other Drugs.
    • 54 Metascore
    • 50 Rex Reed
    May not appeal to every taste, but it marks an arresting feature debut for Jordan Scott, a director who is well worth watching.
    • 80 Metascore
    • 50 Rex Reed
    This one he (Pattinson) could have skipped. Vile and repulsive, Good Time is just under two hours of pointless toxicity.
    • 20 Metascore
    • 50 Rex Reed
    It reminded me of everything from "Ten Little Indians" to a low-budget take on Neil Simon’s "Murder by Death" without the laughs. It’s diverting for people who love games, but not for the squeamish.
    • 58 Metascore
    • 50 Rex Reed
    In the often illustrious career oeuvre of Clint Eastwood, Trouble with the Curve is a minor entry, a cinematic footnote.
    • 70 Metascore
    • 50 Rex Reed
    Surreal but disappointingly drab, it's still not the best Almodovar in years. Despite the usual Almodovar plot twists, kinky sex and themes of sexual identity reversal, gender bending and mad desire, the cult auteur has gone off the tracks and lost his compass.
    • 56 Metascore
    • 50 Rex Reed
    The situations in Little Accidents cry out for more clarity than the script delivers, but the carefully observed performances are worth perusal, and the dark, industrialized joylessness of Rachel Morrison’s cinematography is a somber mirror to the sad dead-end life of Appalachia.
    • 51 Metascore
    • 50 Rex Reed
    It's definitely worth seeing for Ms. Cattrall. This gal can really act.
    • 56 Metascore
    • 50 Rex Reed
    A dull, pretentious trifle from director David Gordon Green with Al Pacino in another of his late-career mishaps that does nothing to elevate his fading film status. How I wish he would stick to the stage.
    • 33 Metascore
    • 50 Rex Reed
    James Franco's role hardly exists. He's a doped-up cipher who attends museum openings and drives his car into a cement wall, looking as bored and out of place as he did hosting the Academy Awards.
    • 61 Metascore
    • 50 Rex Reed
    The realism is honorable, the acting is exemplary, and all do good work, but life among the unlucky and disenfranchised who exist without hope is not a subject that will put a glow in your heart or a smile on your face. Be forewarned: The depression is inescapable.
    • 49 Metascore
    • 50 Rex Reed
    The movie is not great, but the star is not bad. This, in some quarters, is high praise indeed.
    • 47 Metascore
    • 50 Rex Reed
    Sweet but inconsequential, The Great Gilly Hopkins will satisfy family audiences and pre-teens with minimal demands for their money.
    • 38 Metascore
    • 50 Rex Reed
    The terrific cast is well worth watching, but everything else about this wayward movie mistake leaves you feeling just awful.
    • 53 Metascore
    • 50 Rex Reed
    I wish all the agony in The Big Year was leading up to something fascinating in the end, but the most inviting thing in the movie was the exit door.
    • 86 Metascore
    • 50 Rex Reed
    Lincoln is also a colossal bore. It is so pedantic, slow-moving, sanitized and sentimental that I kept pinching myself to stay awake - which, like the film itself, didn't always work.
    • 45 Metascore
    • 50 Rex Reed
    Odd Thomas has high-speed chases, explosions, narrow escapes and masses of special effects—none special enough, I’m afraid, to save it from mediocrity.
    • 49 Metascore
    • 50 Rex Reed
    Empty, pointless and stupid, the barrage of gunfire called Welcome to the Punch is another unappealing entry in the overworked British gangster genre.
    • 33 Metascore
    • 50 Rex Reed
    As a film, though, Chlorine is as confusing as its title. Moviegoers be warned: With the skyrocketing cost of movie tickets (not to mention popcorn), this one is a bad investment.
    • 40 Metascore
    • 50 Rex Reed
    Ms. Carano still has a lot to learn about acting, but she’s certainly the one you want around in case of a home invasion.
    • 55 Metascore
    • 50 Rex Reed
    The script may be flawed and the narrative storytelling mechanical, but the period details are fascinating, the camerawork swaggers across a maze of squalid row houses and nightclub floors with visual velocity, and whenever either one Tom Hardy (or both) is onscreen, Legend is engrossing stuff indeed.
    • 55 Metascore
    • 50 Rex Reed
    Michael Caine is such a consummate actor that it's a major cause of concern to see him in Harry Brown, another hateful vigilante flick the wags in England have already labeled Dirty Harry Brown for reasons that are immediately obvious.
    • 50 Metascore
    • 50 Rex Reed
    As a director, Mr. Crowe’s camera meanders all over the place; as an actor, he mumbles and growls his way through the carnage like it was nothing more important than a re-make of Gladiator, filmed on old sets from Gene Autry westerns.
    • 31 Metascore
    • 50 Rex Reed
    A sensitive career-changing performance by luminous Penélope Cruz dominates the Spanish film Ma Ma, but there’s no escaping the fact that the rest of it is not much more than a dreary, tear-stained soap opera.
    • 58 Metascore
    • 50 Rex Reed
    Danny Collins is nothing to write home about, but it kept me entertained without too much guilt, and I didn’t wince. By today’s American movie standards, that’s becoming very high praise indeed.
    • 38 Metascore
    • 50 Rex Reed
    Ms. Farmiga is the only one who seems to be having any fun, as an aging flower child stuck in an earlier decade and addicted to healing vortex workshops and primal screams. Mellow, but very much a work in progress, Goats has a bland but overcrowded menu that could benefit from a little feta.
    • 36 Metascore
    • 50 Rex Reed
    At least Gong is ravishing, which occasionally takes your mind off the gibberish that is going full tilt around her.
    • 64 Metascore
    • 50 Rex Reed
    Lazy, eccentric, chain-smoking and accident-prone, Mr. Murray gives ’em what they clamor for. His eventual redemption as a saint in disguise is predictable. The direction is negligent and the jokes are mild. It’s an O.K. little picture that doesn’t really go anywhere, but it has a resonance that is easy on the heart.
    • 54 Metascore
    • 50 Rex Reed
    Like any good cautionary tale, Puncture tells a suspenseful story responsibly, creating food for thought and leaving the audience both enlightened and entertained.
    • 50 Metascore
    • 50 Rex Reed
    Despite its good intentions, this earnest little film seems embalmed.
    • 53 Metascore
    • 50 Rex Reed
    Armstrong is played by Ben Foster with an astonishing lack of animation or personality, and his literary prosecutor is played by the usually colorful, award-winning Chris O’Dowd with a dreariness that is stripped bare of his usual dynamism.
    • 77 Metascore
    • 50 Rex Reed
    A dreary bummer.
    • 42 Metascore
    • 50 Rex Reed
    Two lost souls on the highway of life — that’s what a well-acted but benign little trifle called Arthur Newman is about.
    • 41 Metascore
    • 50 Rex Reed
    The film is awkward, the situations tenuous and underdeveloped, the pacing torturous as a slow drip from a leaking faucet, and the narrative just plods along, with the body count rising for no clear reason.
    • 94 Metascore
    • 50 Rex Reed
    Mr. Spall, winner of the Cannes and New York Film Critics Circle best-actor awards, does his best to bring an unpleasant character to life — grunting and snorting like a boar ready to charge, spitting on his canvases and dragging around with a constant wince like a fat baby with colic. With all due respect, he’s too repulsive to watch for 150 minutes.
    • 49 Metascore
    • 50 Rex Reed
    Live By Night boils over with ambience and charged with details, from Roaring 20s flapper costumes to shootouts in period cars, but too many aborted narratives in Affleck’s lifeless screenplay intertwine, fanning the confusion, while other subplots are abandoned altogether.
    • 54 Metascore
    • 50 Rex Reed
    A benign slice of life about suburban angst on Long Island. It's not much, but thanks to the noble efforts of a very good cast, I've seen worse.
    • 55 Metascore
    • 50 Rex Reed
    Anesthesia is a pile of incomprehensible existential gibberish by the vastly untalented actor-writer-director Tim Blake Nelson about the meaning of life in an age of technology, told in the tiresome style of multiple characters who intersect at odd angles in a follow-the-dots plot centered on a single tragic action.
    • 85 Metascore
    • 50 Rex Reed
    Content to make movies for himself (Malick) that nobody else wants to see as long as he can find someone to foot the bill, he's also an iconoclast searching for significance. So am I, but not 138 minutes worth. Anyone seeking symmetry in this cinematic taffy pull risks emerging from it with a pretzel for a brain.
    • 41 Metascore
    • 50 Rex Reed
    Battleship is dopey, preposterous and unintentionally hilarious in all the wrong places, but as directed by Peter Berg, it is also energetic, fast-moving and bracing.
    • 67 Metascore
    • 50 Rex Reed
    The juxtaposition of tone, theme and content in the narratives fails beyond the basic ideas. This leaves the capable Gyllenhaal to do little more than scream and rant hysterically.
    • 50 Metascore
    • 50 Rex Reed
    Plotless and illogical.
    • 63 Metascore
    • 50 Rex Reed
    More bitter, bleak lives of American mill workers without a compass and no place to go if they had one are showcased in the pessimistic drama Out of the Furnace. It’s getting to be a dismal film director’s obsession bordering on cliché.
    • 54 Metascore
    • 50 Rex Reed
    Let it be said that Ms. Streep is galvanizing, even as the film slogs through too much information and not nearly enough illumination.
    • 56 Metascore
    • 50 Rex Reed
    In a footnote to history that is still too close for comfort, he’s the real meaning of paradise lost.
    • 55 Metascore
    • 50 Rex Reed
    Gun Hill Road is worth seeing for the acting. The great character actress Miriam Colon makes a brief but memorable appearance as the strong matriarch of the household, and Ms. Santana, a true transgendered teen who has never acted before, is especially wrenching.
    • 57 Metascore
    • 50 Rex Reed
    By my rough calculation, the real Jack Ryan should be approximately 103. Preposterous but moderately engaging, Jack Ryan has outlived his welcome, and there’s no end in sight.
    • 54 Metascore
    • 50 Rex Reed
    To Rome with Love has moments of isolated charm, but it's only moderately entertaining, it isn't very funny, and it's entirely too long.
    • 53 Metascore
    • 50 Rex Reed
    The good twin/bad twin conceit in 2014 doesn’t have a shred of the original surprise, and Zoe Kazan doesn’t have the chops to carry it off anyway.
    • 58 Metascore
    • 50 Rex Reed
    Don’t be misled by the title Leaves of Grass. Do not expect literacy, either. This stoner comedy has nothing whatsoever to do with Walt Whitman or poetry of any kind.
    • 40 Metascore
    • 50 Rex Reed
    To be honest, I can rarely recall any film, on any subject, that made less sense.
    • 56 Metascore
    • 50 Rex Reed
    There are some lovely and moving things here, but over the long haul it’s more like watching an hour and a half of someone’s weekend trip to Knott’s Berry Farm.
    • 40 Metascore
    • 50 Rex Reed
    A creepy descent into madness called Dark Was the Night is better than most.

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