For 790 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 5.8 points lower than other critics. (0-100 point scale)

Rex Reed's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Lore
Lowest review score: 0 American Mary
Score distribution:
790 movie reviews
    • 88 Metascore
    • 25 Rex Reed
    An unrecognizable Michael Keaton seems to have aged 40 years since the last time he appeared on the screen, but he’s still the best (i.e., only) reason to suffer through a miserable load of deranged, deluded crap masquerading as a black comedy called Birdman.
    • 86 Metascore
    • 25 Rex Reed
    Call The Master whatever you want, but lobotomized catatonia from what I call the New Hacks can never take the place of well-made narrative films about real people that tell profound stories for a broader and more sophisticated audience. Fads come and go, but as Walter Kerr used to say, "I'll yell tripe whenever tripe is served."
    • 85 Metascore
    • 25 Rex Reed
    Who goes to the movies for 104 minutes of punishment? Where is John Wayne, now that we need him?
    • 84 Metascore
    • 25 Rex Reed
    The result, in the case of Moonrise Kingdom, is what I call transcendentally brainless - an after school special aimed at asinine adolescents over the age of 40.
    • 82 Metascore
    • 25 Rex Reed
    There’s no humanity in this grave disappointment that justifies the passion his fans feel for the father of the iMac. Steve Jobs and all of the characters around him fail to come to life in any absorbing fashion. They’re not real people; they’re all hashtags.
    • 82 Metascore
    • 25 Rex Reed
    Comprising three separate, unrelated and thoroughly inconsequential short stories about lonely, miserable women in the isolated landscape of Montana, Certain Women is the latest thumping bore from Kelly Reichardt, a writer-director-editor who makes bland, low-budget films about various hidden aspects of women’s lives they are reluctant to reveal, then take forever to do so.
    • 81 Metascore
    • 25 Rex Reed
    "Enemy" and "Sicario" were unspeakable disasters, and Arrival, the director’s latest exercise in pretentious poopery, gives me every reason to believe I have parted company with Denis Villeneuve for good.
    • 81 Metascore
    • 0 Rex Reed
    Raw
    Word to the wise: Start saving the vomit bags from your airplane flights. With movies like this, you’re gonna need them.
    • 80 Metascore
    • 0 Rex Reed
    Melancholia is his latest pile of undiluted drivel, nauseatingly filmed by a wonky hand-held camera and featuring a crazy, mismatched ensemble headed by Kirsten Dunst, who won an acting award in Cannes last year for looking totally catatonic.
    • 80 Metascore
    • 25 Rex Reed
    The original western won John Wayne a puzzling and undeserved Oscar for finally falling off his horse. Don't expect the same miracle for Jeff Bridges. In the numbing hands of pretentious filmmakers Joel and Ethan Coen, history does not repeat itself in any way whatsoever.
    • 79 Metascore
    • 25 Rex Reed
    Before the carnage ends, the entire cast has been tortured, mutilated and murdered by so many weapons it’s hard to keep them straight. When the shotguns, box cutters and machetes run out, it’s time to cue the flesh-eating attack dogs.
    • 78 Metascore
    • 25 Rex Reed
    At a time when every penny counts, where do they come up with the money to finance a movie this boring?
    • 78 Metascore
    • 25 Rex Reed
    I certainly wish Ms. Johansson hadn’t shown up at all. She’s never less than interesting to watch, but Under the Skin is a big waste of her time.
    • 78 Metascore
    • 25 Rex Reed
    Halfheartedly, I give The Dark Knight Rises - the third and final Batflick in the Nolan trilogy - one star for eardrum-busting sound effects and glaucoma-inducing computerized images in blinding Imax, but talk about stretching things.
    • 77 Metascore
    • 25 Rex Reed
    Logan is another heinous and sophomoric waste of Hugh Jackman ‘s time and considerable talent and another expensive throwaway aimed at milking money out of people who still read comic books. Color it stupid.
    • 76 Metascore
    • 38 Rex Reed
    Ambiguous and ludicrous at the same time, director Mr. Nichols (Mud) claims to have structured Midnight Special as a fast-moving thriller, but it’s slow as an inchworm and about as thrilling as buttermilk. Clearly, he’s been watching too many Christopher Nolan movies.
    • 76 Metascore
    • 25 Rex Reed
    As a movie, it's so tightly framed you gasp from claustrophobia. As a film of cryptic boredom, I cannot believe the actors were able to say their lines without cue cards.
    • 76 Metascore
    • 25 Rex Reed
    A pointless, pathetic and profoundly boring send-up of universally acknowledged anti-social author Philip Roth, Listen Up Philip is a juvenile experiment in pretentious idiosyncrasy by amateurish writer-director Alex Ross Perry. He calls his miserable protagonist Philip Friedman, but who’s kidding who?
    • 76 Metascore
    • 25 Rex Reed
    The movie knocks itself unconscious trying to be offbeat, but instead of cinematic heart, the director self-indulges in cinematic art, drowning the whole thing in freeze frames, slow-motion and color-coding, owing everything he knows to the worst of Jean-Luc Godard and Wes Anderson.
    • 75 Metascore
    • 25 Rex Reed
    What it turns out to be is a preposterous puzzle that fails every test under scrutiny, leaving the spectator with a “Huh?” that is meant to be uttered only while chewing gum.
    • 74 Metascore
    • 25 Rex Reed
    I'd like to tell you just how bad Inception really is, but since it is barely even remotely lucid, no sane description is possible.
    • 74 Metascore
    • 0 Rex Reed
    Nothing about mother! makes one lick of sense as Darren Aronofsky’s corny vision of madness turns more hilarious than scary. With so much crap around to clog the drain, I hesitate to label it the “Worst movie of the year” when “Worst movie of the century” fits it even better.
    • 74 Metascore
    • 25 Rex Reed
    It still has a long way to go before the term Mumblecore (which sounds like a Harry Potter major at Hogwart's) can be confused with the term Class Act.
    • 73 Metascore
    • 25 Rex Reed
    It is really not about anything at all except the mistakes, pitfalls and dumb decisions that plague the career of talented but misguided Australian actor Guy Pearce in his attempts to become an American film star.
    • 72 Metascore
    • 25 Rex Reed
    A creepfest so stupid it makes trashy slash-and-burn epics like "Humans Versus Zombies" and "I Spit on Your Grave" seem like Molière and Proust.
    • 72 Metascore
    • 25 Rex Reed
    Artificial, irresponsible, filthy and forgettable, it knocks itself cross-eyed trying to make you roar with laughter at chemotherapy, with the nauseating Seth Rogen milking most of the yuks. But a stoner comedy about cancer? I don't think so.
    • 72 Metascore
    • 25 Rex Reed
    People who ask nothing more for their money than a lot of nerve-scrambling computerized special effects might get through Doctor Strange, another in a long line of lengthy, stupid and unbearable Marvel Studios comic books on film, with minimal brain damage.
    • 72 Metascore
    • 0 Rex Reed
    Lena Dunham makes a 98-minute home video seem like 98 days of hard labor.
    • 70 Metascore
    • 0 Rex Reed
    To quote the late, great Dorothy Parker, “What fresh hell is this?” I’m talking about Colossal, a delirious, moronic mess that landed with a thud at last year’s Toronto International Film Festival and now opens commercially, seven months later, with a head-scratching “Duh”.
    • 70 Metascore
    • 0 Rex Reed
    This one, by the jarringly untalented writer-director Shane Black, is merely violent, vulgar and stupid.
    • 69 Metascore
    • 25 Rex Reed
    Mr. Franco must have had a very boring adolescence, because Palo Alto is a very boring movie.
    • 69 Metascore
    • 0 Rex Reed
    What some critics praise as astute and compelling, I find juvenile and fraught with hysteria. There's no arc here, no real pathos, and the direction is like watching snow melt on the side of a road.
    • 69 Metascore
    • 25 Rex Reed
    The movie is nothing more than a labored series of skits that play like ideas from rejected TV pilots.
    • 69 Metascore
    • 25 Rex Reed
    There is no hope on the horizon for movies as leaden as The Exploding Girl.
    • 69 Metascore
    • 25 Rex Reed
    Sightseers is a morose, unsettling blend of pathology for sport and murder for laughs.
    • 68 Metascore
    • 25 Rex Reed
    What to say about an uphill slog called Crazy, Stupid, Love? It's not nearly crazy enough to clear the clogged arteries of summer comedies, and when the love appears, it's in all the wrong places. Oh well, at least they nailed the stupid part.
    • 68 Metascore
    • 0 Rex Reed
    This is the most unwatchable horror movie masquerading as social comment I have seen this year.
    • 68 Metascore
    • 0 Rex Reed
    Misguided and lethargic horror movie.
    • 68 Metascore
    • 25 Rex Reed
    This one is no scarier than running out of ink in the middle of a midterm exam.
    • 67 Metascore
    • 25 Rex Reed
    Haywire makes no sense whatsoever, which should come as no surprise. It's the latest brainless exercise in self-indulgence from Steven Soderbergh, whose films rarely make any sense anyway.
    • 67 Metascore
    • 0 Rex Reed
    The movie is so clueless and time-warped it could be comprised of outtakes from "Father Knows Best."
    • 67 Metascore
    • 25 Rex Reed
    She’s (Moore) the best thing in this toxic carnage of creepy, self-indulgent decadence, but under the direction of loopy Canadian David Cronenberg, she goes beyond the limit of acceptable artistry.
    • 67 Metascore
    • 12 Rex Reed
    The latest calcified bore by Sofia Coppola is less pretentious than "Marie Antoinette" but every bit as inertly stupefying as "Lost in Translation."
    • 67 Metascore
    • 25 Rex Reed
    The script is breezy, but neither of the two leads have the heft or charm to carry an entire feature-length film - separately or together.
    • 66 Metascore
    • 0 Rex Reed
    The result is a twitching convulsion of vicious drivel passing itself off as a movie, which can be best appreciated by the kind of people who dig "Showgirls," the "Saw" franchise and Spike Jonze-Charlie Kaufman flicks.
    • 65 Metascore
    • 25 Rex Reed
    Salt is about as believable as a secret training program for military pilots consisting entirely of kangaroos in flight helmets. But it must be said that the star carries her load admirably.
    • 65 Metascore
    • 0 Rex Reed
    A trash wallow in sex, nudity, violence, cruelty to animals and the skewering of contemporary society, it will predictably appeal to kids and art house patrons who crave the cinematic roller coaster rides of outrage and chaos that lead to downright anarchy. Saner, more rational minds are advised to look elsewhere.
    • 65 Metascore
    • 25 Rex Reed
    Contrived, pretentious and not worth seeing even for the perverse pleasure of watching first-rate talents make second-rate fools of themselves.
    • 64 Metascore
    • 25 Rex Reed
    An hour and 20 minutes into this two-hour-and-11-minute endurance test, a hungry Kaiju attacks the city of Hong Kong and eats the neon signs of every Cantonese restaurant in Victoria Harbor. It’s sort of worth waiting around for.
    • 64 Metascore
    • 38 Rex Reed
    A dismal hack job pretending to be a take on modern relationships.
    • 64 Metascore
    • 25 Rex Reed
    A filthy, pretentious, brutally violent and utterly pointless load of rubbish called Killing Them Softly.
    • 64 Metascore
    • 25 Rex Reed
    Actor-turned-director Don Cheadle trashes the historic career of Miles Davis in Miles Ahead, named after one of the greatest albums ever made by one of the most influential musicians of all time.
    • 64 Metascore
    • 38 Rex Reed
    Ant-Man is a brainless bore and a colossal waste of money, time and computer-generated special effects.
    • 63 Metascore
    • 25 Rex Reed
    Ms. Cardellini plays it like a zombie, and she isn't helped by all the loitering camera angles and repetitive close-ups of her head framed against car windows. It's a worthy subject, ploddingly explored in a film that is too modest for its own good.
    • 63 Metascore
    • 25 Rex Reed
    A tedious exercise in tedium.
    • 62 Metascore
    • 25 Rex Reed
    Unfortunately, Split is a preposterous bore that steals shamelessly from "The Search for Bridey Murphy," "The Three Faces of Eve," "Sybil" and Shirley Jackson’s novel "The Bird’s Nest," made by a man who has been spending entirely too much time watching "Law and Order: SVU."
    • 61 Metascore
    • 25 Rex Reed
    The Trollhunter writers either have an abundance of imagination or they've been smoking a controlled substance.
    • 61 Metascore
    • 25 Rex Reed
    Valhalla Rising is nothing more than an updated version of the kind of time-honored Hollywood Viking movie Kirk Douglas used to do in his sleep, which means lots of inhuman, bone-crunching violence and no plot.
    • 61 Metascore
    • 25 Rex Reed
    Incompetently directed by Scott Coffey and weakly written by Andrew Cochran, a rotten egg called Adult World is anything but.
    • 60 Metascore
    • 25 Rex Reed
    Expensive, derivative and boring as mattress ticking masquerading as designer fabric.
    • 60 Metascore
    • 0 Rex Reed
    A ponderous spoof of movie rom-coms that plummets stupidity to a new low even by Hollywood standards.
    • 59 Metascore
    • 25 Rex Reed
    These are neither good people nor interesting savages, and they're not worth caring about. Neither is the movie.
    • 58 Metascore
    • 0 Rex Reed
    Plotless and almost mute, To the Wonder is the kind of fiasco that keeps film-festival programmers salivating and discriminating audiences stampeding toward the exit doors. It’s a simpering yawn that makes "The Tree of Life" seem like an action thriller with Bruce Willis. It is about … nothing.
    • 58 Metascore
    • 25 Rex Reed
    The fun wears out fast and so does the “gotcha” factor.
    • 57 Metascore
    • 25 Rex Reed
    This one is so bad it’s hilarious. Sheri Moon Zombie is no Mia Farrow, Rob Zombie is no Roman Polanski, and The Lords of Salem seems to have been made by people on the rubber bus headed for a rubber room with bars on the windows.
    • 57 Metascore
    • 25 Rex Reed
    Movies like Sleeping Beauty are as sensual as cottage cheese, not to mention passé.
    • 57 Metascore
    • 25 Rex Reed
    It’s obvious that something got lost in translation.
    • 56 Metascore
    • 25 Rex Reed
    I guess I’ve seen worse teen sex comedies, but it’s rare to encounter one this stupid.
    • 56 Metascore
    • 25 Rex Reed
    Unknown makes no sense at all, so you not only worry about Liam Neeson's judgment in movies, but you begin to wonder if he's forgotten how to read.
    • 56 Metascore
    • 25 Rex Reed
    Michael Shannon is a convincing and resourceful actor who is now too established and viable to settle for enigmatic roles in meaningless, throwaway movies with zero possibilities for commercial success like a thing called Frank & Lola.
    • 56 Metascore
    • 25 Rex Reed
    The film knocks itself unconscious trying to be whimsical and offbeat, but is so contrived that it is as embarrassing as it is unfunny.
    • 55 Metascore
    • 25 Rex Reed
    Almost three hours long, a lugubrious sludge of mud soup called Cloud Atlas deserves a limp nod for pure guts, I suppose, but what I'd really like to do is burn it.
    • 55 Metascore
    • 25 Rex Reed
    Richard Brooks made a tougher and much better film about the tragedy of compulsive gambling in his 1985 film "Fever Pitch," and in 1949’s "The Lady Gambles," even Barbara Stanwyck made a more convincing fall from respectability into casino hell than Mark Wahlberg does here.
    • 55 Metascore
    • 25 Rex Reed
    And there is Ewan McGregor, who makes entirely too many movies and only occasionally makes an effort to speak the kind of English anyone can understand.
    • 55 Metascore
    • 0 Rex Reed
    Quite the most appalling piece of junk I have seen lately, Hobo With a Shotgun just lies there like an autopsy.
    • 55 Metascore
    • 25 Rex Reed
    I love the publicity quotes by Baz Luhrmann stating that his intention was to make an epic romantic vision that is enormous. Also: overwrought, asinine, exaggerated and boring. But in the end, about as romantic as a pet rock.
    • 54 Metascore
    • 25 Rex Reed
    The script, by Melissa James Gibson, is as scintillating as a dead rodent.
    • 54 Metascore
    • 0 Rex Reed
    I call it cinematic freebasing. It’s tired, repetitious, superficial, dreary and done to death before, by the same director, movie to movie and—forgive me for the unpardonable pun — song by song.
    • 53 Metascore
    • 25 Rex Reed
    What passes for a plot has been done a thousand times before — in much better films than A Single Shot.
    • 53 Metascore
    • 0 Rex Reed
    With the corpse of a nightmare called Knight of Cups, I have finally given up on Terrence Malick. This dog of a film is as riveting and fascinating as a walk-in bathtub.
    • 53 Metascore
    • 25 Rex Reed
    Big Ass Spider, lazily directed by Mike Mendez and unwisely written without a trace of necessary camp by Gregory Gieras, aims for satire and settles for stale shtick. It ends with the song “La Cucaracha,” leaving the door open for more insects to come. Cockroaches, anyone?
    • 53 Metascore
    • 25 Rex Reed
    Awkward music cues and choppy camera work add baggage to a film so overwrought that its excesses seem more unintentionally silly than bleakly disturbing.
    • 53 Metascore
    • 25 Rex Reed
    This movie is so staggeringly violent and stomach-souring disgusting that when it screens, it is occasionally greeted with boos and almost always accompanied by massive audience walkouts. Don't say I didn't warn you.
    • 52 Metascore
    • 25 Rex Reed
    Detachment drives a coffin nail through a noble profession with such ruthless virulence that it makes no point at all.
    • 52 Metascore
    • 25 Rex Reed
    All of which makes me sad about Denzel Washington's disillusioning participation. I forgive him if the money was irresistible enough to pay off a mortgage or put his kids through Harvard, but Safe House is total junk, and he is one of the producers.
    • 51 Metascore
    • 0 Rex Reed
    The Neon Demon, which was booed off the screen this year in Cannes, is about jealousy, murder and cannibalism in the Hollywood modeling industry. If it wasn’t so stupid and preposterous, I’d say see it for the laughs, but trust me when I say you’re on your own — and I mean it.
    • 51 Metascore
    • 25 Rex Reed
    There’s nothing remarkable or even remotely intriguing about the dyspeptic gang of submental sad sacks in this dull, flat fiasco.
    • 51 Metascore
    • 25 Rex Reed
    The actors are all completely wasted in this dumb travesty of fumbling, unfocused, oversexed numbskulls who work in the movie business. Everyone connected with Nobody Walks should have done just that-early and quickly.
    • 50 Metascore
    • 25 Rex Reed
    Jack Reacher is mostly grim, violent and stupid.
    • 50 Metascore
    • 25 Rex Reed
    A ludicrously pretentious train wreck masquerading as a movie.
    • 50 Metascore
    • 25 Rex Reed
    The prevailing mood of Child of God, published in 1973, is filth, alienation and inertia. You can have it.
    • 49 Metascore
    • 25 Rex Reed
    The film has a restless, nomadic quality similar to Kerouac’s lifestyle, but there’s no there there.
    • 49 Metascore
    • 0 Rex Reed
    V/H/S/2 is a diabolically psychotic, sub-mental and completely unwatchable disaster that I happily deserted when a man with a retinal implant scooped out his bionic eye with a sharp object, splattering blood all over the camera. Your move, and you’re welcome to it.
    • 49 Metascore
    • 25 Rex Reed
    This awful rehash, badly directed by Vincenzo Natali (Splice), reeks of stale, recycled ideas.
    • 49 Metascore
    • 0 Rex Reed
    The longer it drags on, the sillier it gets. A preposterous narrative, illogical red herrings, trick endings, bad acting and—shazam! — Spike Lee turns into M. Night Shyamalan!
    • 48 Metascore
    • 25 Rex Reed
    It’s nice to see a movie about kids that extols the virtues of intelligence over sex, sports, bad music, ugly clothes and tattoos, but aside from some nice autumnal shots of Ivy League college campuses, there’s nothing in HairBrained to sustain much interest.
    • 48 Metascore
    • 25 Rex Reed
    Well photographed, lurid enough to cause concern for the teen market it aims to captivate, and with enough blood to refurbish an abattoir, Kiss of the Damned creates an eerie, foreboding anxiety that comes uneasily close to terror. Too bad they seem to be making it up as they go along.
    • 48 Metascore
    • 25 Rex Reed
    This is bargain-basement moviemaking, and looks it. Here's wishing Mr. Pierce a vigorous movie career, and better luck next time.
    • 48 Metascore
    • 38 Rex Reed
    Labored and boring, The Mountain Between Us is a soap opera in the snow that fritters away the time and talents of Kate Winslet and Idris Elba for all the wrong reasons.
    • 47 Metascore
    • 25 Rex Reed
    Burlesque is the celluloid equivalent to a Big Mac attack, and any resemblance to a plot is purely coincidental.

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