For 734 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 5.5 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 High-Rise
Score distribution:
734 movie reviews
    • 49 Metascore
    • 50 Rex Reed
    A harrowing but tedious chronicle of Welsh poet Dylan Thomas’ time in America in the 1950s.
    • 46 Metascore
    • 50 Rex Reed
    It’s described as a smart, suspenseful psychological thriller, but there’s nothing smart about it, and as an alleged thriller, when the mysteries are explained in a twist finale, it could use a psychologist of its own. The only suspense is waiting to see if Diane Lane’s reputation will survive.
    • 42 Metascore
    • 50 Rex Reed
    James Franco again, more subdued and less hokey than usual, this time in something called Good People, the kind of routine thriller they used to show on Thursday and Friday nights before the big Saturday double features, back in the good old studio years when the marquees changed every two days.
    • 60 Metascore
    • 50 Rex Reed
    Disappointingly tedious, On My Way is a contrived vehicle for Gallic icon Catherine Deneuve. At 70, she’s still the embodiment of placid ripeness we know and love, but the movie has little substance.
    • 50 Metascore
    • 50 Rex Reed
    Cowboys & Aliens is one of the silliest movies ever made, but so many otherwise serious people have attached their names to it that, as Arthur Miller wrote in Death of a Salesman, attention must be paid.
    • 55 Metascore
    • 50 Rex Reed
    The actors are so good, though, that they make you want to see what they could do in a better movie than this tedious acting-class experiment.
    • 67 Metascore
    • 50 Rex Reed
    I found the whole thing pokey and plodding, but there’s no denying the fact that even when sitting through Mr. Holmes seems numbing, Mr. McKellen is a force so powerful he’s his own reward.
    • 40 Metascore
    • 50 Rex Reed
    Petunia augurs more titillation than it delivers and only works occasionally.
    • 54 Metascore
    • 50 Rex Reed
    If you’re patience doesn’t wear out, the movie culminates in that clever shock ending that not only explains everything but gives what you’ve just seen a rewarding jolt.
    • 73 Metascore
    • 50 Rex Reed
    Dreary, depressing and desultory, A Most Wanted Man is not my cup of Schokolade mit Schlagsahne.
    • 65 Metascore
    • 50 Rex Reed
    Of course, you can’t really make a movie that combines elements of the metaphysical, zombie and haunted-house genres without a few splatter-movie clichés, but Mr. Geoghegan makes them creepier and more unpredictable than I thought possible.
    • 48 Metascore
    • 50 Rex Reed
    King Cobra is a cut above most homoerotic masturbatory screen fantasies, but not by much.
    • 68 Metascore
    • 50 Rex Reed
    The director’s vision is so dark — and Mr. Crowe’s grumbling, sour-stomach persona so much like a Tums commercial — that you don’t care much what happens to him or his ark, which looks like a big barge with a stove pipe in the middle.
    • 38 Metascore
    • 50 Rex Reed
    Clumsy and contrived, the film never manages to connect the dots in a trio of stories set in three different cities, and I had to pinch myself to keep from falling asleep.
    • 34 Metascore
    • 50 Rex Reed
    This one blends the scented candles of a daytime soap with the tamer aspects of a middling thriller. Some folks will bring Kleenex. Others will need NoDoz.
    • 53 Metascore
    • 50 Rex Reed
    Our Brand Is Crisis adds up to a toothless exercise in missed opportunities that is half cautionary tale, half political satire and oddly insignificant as both.
    • 37 Metascore
    • 50 Rex Reed
    The film's weakest link is Rufus Sewell's rumpled gumshoe, inarticulate and mumbling to the point of madness.
    • 29 Metascore
    • 50 Rex Reed
    A good idea gone bad plagues this movie adaptation of D.M.W. Greer’s controversial 1992 play Burning Blue.
    • 66 Metascore
    • 50 Rex Reed
    He (Gordon-Levitt) can act, and there’s a possibility he can also direct, but there’s no evidence in Don Jon that he can do both at the same time.
    • 33 Metascore
    • 50 Rex Reed
    Burning Palms is too sick to attract the masses, but he's onto something subversively valid, and the film is never boring.
    • 50 Metascore
    • 50 Rex Reed
    The actors work hard to convey terror-especially Mr. Christensen, who proved he could act when he played disgraced journalist Stephen Glass in the marvelous, underrated "Shattered Glass"-but the panic that overtakes the characters never quite grips the audience.
    • 62 Metascore
    • 50 Rex Reed
    The lugubrious pop songs by Gregg Alexander are execrable. Ms. Knightley isn’t remotely believable as a bike-riding pop singer. The saving grace is Mark Ruffalo, the only actor on the premises who shows any grit or passion for his character or for the music business.
    • 62 Metascore
    • 50 Rex Reed
    The dreary, chug-along Australian film The Daughter offers a good but sadly wasted cast, obscured in the eye-rubbing mist of a foggy Down Under countryside and struggling to rise above the sludge of a basic soap opera with literary pretensions.
    • 48 Metascore
    • 50 Rex Reed
    Too relentlessly depressing to recommend to the everyday audience. It seems to be on automatic pilot. Horrible, sad things keep happening, but it just goes on.
    • 57 Metascore
    • 50 Rex Reed
    Overexposed and barely awake in the most dramatic scenes, Ewan McGregor is the star, but it’s not one of his most energetic performances.
    • 49 Metascore
    • 50 Rex Reed
    Ultimately, everyone in the movie is wasted, including Catherine Zeta-Jones, who provides great eye candy but has nothing important to say or do. Most of the roles are so ambiguous you end up scratching your head in the final reel, and some of the loose ends are so irrelevant they seem to have ended up on the cutting-room floor. With Russell Crowe, it really helps if you can read lips.
    • 48 Metascore
    • 50 Rex Reed
    October Gale features picturesque scenery, crisply photographed by Jeremy Benning, and composed in shots that could pass for glossy tourist postcards. The two stars are pretty to look at, but Canada is hard to upstage.
    • 63 Metascore
    • 50 Rex Reed
    Shot by Barry Ackroyd, the same cinematographer who filmed "The Hurt Locker," and using the same camera techniques, this movie looks like outtakes from a much better film.
    • 34 Metascore
    • 50 Rex Reed
    It opens our eyes to a subculture about which most of us know very little, but it is so unsteady in its focus that interest wanes.
    • 64 Metascore
    • 50 Rex Reed
    The Innkeepers, a desultory indie-prod poorly written and lamely directed by Ti West, and filmed on the cheap at the actual location, is a poor-man's rip-off of Stanley Kubrick's hotel spookfest, "The Shining," promising paranormal horrors to all who dare to enter. Where is Jack Nicholson when we need him?

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