Richard Schickel
Select another critic »
For 480 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 5.3 points higher than other critics. (0-100 point scale)

Richard Schickel's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Memory of a Killer
Lowest review score: 0 The Women
Score distribution:
  1. Negative: 62 out of 480
480 movie reviews
    • 92 Metascore
    • 50 Richard Schickel
    Still, somewhat shame-faced I have to admit that at some point in the film I began to hear a subversive voice whispering in my ear, and what it was saying was, "Could you blink a little faster, pal?"
    • 86 Metascore
    • 60 Richard Schickel
    Finally, though, Traffic, for all its earnestness, does not work. It leaves one feeling restless and dissatisfied.
    • 82 Metascore
    • 50 Richard Schickel
    A movie that may be just a bit too pleased with its own artful bleakness.
    • 81 Metascore
    • 40 Richard Schickel
    A grim and uninvolving film, for which Philip Glass unwittingly provides the perfect score -- tuneless, oppressive, droning, painfully self-important.
    • 81 Metascore
    • 50 Richard Schickel
    Our response to the ape's doom, once touched by authentic tragedy, is now marked by relief that this wretchedly excessive movie is finally over.
    • 80 Metascore
    • 50 Richard Schickel
    There is more to the intertwined stories of Murrow and McCarthy than this simpleminded, rhetorically driven movie begins to encompass.
    • 77 Metascore
    • 50 Richard Schickel
    What plot it has is borrowed, improbably, from Henry IV, and whenever anyone manages to speak an entire paragraph, it is usually a Shakespearean paraphrase. But this is a desperate imposition on an essentially inert film. [28 Oct 1991]
    • Time
    • 77 Metascore
    • 50 Richard Schickel
    Nunez's film neither floats like a butterfly nor stings like a bee. It just drones on.
    • 77 Metascore
    • 60 Richard Schickel
    A hard-striving, convoluted movie, which never quite becomes the smoothly reciprocating engine Anderson ...would like it to be.
    • 77 Metascore
    • 60 Richard Schickel
    The film comes uncomfortably close to risible. But it also achieves moments of real power. It's worth a wary look before it attains midnight cult-movie status.
    • 75 Metascore
    • 40 Richard Schickel
    The result is a Big Mac of a movie, junk food that somehow reaches the chortling soul.
    • 75 Metascore
    • 60 Richard Schickel
    It appears to be a true reflection of her (Shelly) spirit -- eccentric, good-naturedly feminist, kind of funny and kind of sentimental. Despite its realistic setting in a small Southern town, it is much more a fable than it is a slice of authentic life.
    • 74 Metascore
    • 50 Richard Schickel
    There's a great story here, but Tucci's literate, civilized, wistful movie lacks savage impulse and refuses to show how mutual exploitation led to minor tragedy.
    • 74 Metascore
    • 50 Richard Schickel
    Maurice (pronounced Morris) is all high-mindedness and good taste. It has no emotional tension or - heaven forfend - strong expression of frustration or need.
    • 73 Metascore
    • 50 Richard Schickel
    I think the central mistake of this film derives from its lack of irony, a sense it refuses to impart that the world may not be exactly as the zealous Christopher perceives it to be. The film needs at least to entertain the possibility that its protagonist was driven less by high principle than by lamentable screwiness. And we need to leave it carrying some sense of tragic consequence with us. Instead, we're simply glad to be finished, at last, with this annoying man-child.
    • 73 Metascore
    • 40 Richard Schickel
    It doesn't work. It is just a mess -- though the sound track, full of Dylan songs is, of course, good to hear. But it is not better than the track on Martin Scorsese's "No Direction Home" documentary of two years ago.
    • 73 Metascore
    • 50 Richard Schickel
    Full of sacrilegious rant, absurdist affectlessness and pop social criticism, this film plays like an old B movie: narratively improvisational, delusionally pretentious, weirdly watchable.
    • 73 Metascore
    • 60 Richard Schickel
    I think Gonzo, which is wonderfully rich in historical footage, needs some skeptics, some voices suggesting that maybe, just maybe, Thompson was part of the problem, not the solution, when America flirted briefly with revolution (or was it merely anarchy?), leaving consequences that continue to resonate today -- and not always to our advantage.
    • 73 Metascore
    • 50 Richard Schickel
    Funny in its deplorable way.
    • 72 Metascore
    • 60 Richard Schickel
    Can one recommend this unblinking film to the average moviegoer, out for a good time? Only in this way: if James and his crew can spend years with these blighted souls, surely you can spend two hours with them, exploring compassion's outer limits.
    • 72 Metascore
    • 60 Richard Schickel
    This is rather a thin tale, not much thickened by Burton's direction or Depp's playing. There's a distance, a detachment to this film. It lacks passion.
    • 72 Metascore
    • 60 Richard Schickel
    This material is either underdeveloped or crudely put by a director whose style is so conventional that he makes James Ivory look, by comparison, like Jean-Luc Godard.
    • 72 Metascore
    • 50 Richard Schickel
    For clever as it is conceptually, it violates the most basic rule of romantic- comedy construction. If boy doesn't meet girl, then the drama of boy losing girl and the final satisfaction of boy getting girl cannot happen.
    • 71 Metascore
    • 40 Richard Schickel
    Neither jokes nor fast, flashy action can completely distract audiences from the failure to establish an authentic, rather than a purely conventional connection between Nolte and Murphy.
    • 71 Metascore
    • 40 Richard Schickel
    This is, alas, one weary ride--77 minutes that sometimes feel like that many hours.
    • 71 Metascore
    • 60 Richard Schickel
    What makes The Good Girl worthwhile is its performances. All the actors play their entrapment with a weirdly convicted blankness. That's especially true of Aniston.
    • 70 Metascore
    • 50 Richard Schickel
    Hearts sinking, we are obliged to endure much pseudo-serious gabble as we head toward another painfully predictable triumph of the human spirit. There must be some better way of hunting our--and Oscar's--goodwill. [Dec. 1,1997]
    • Time
    • 70 Metascore
    • 50 Richard Schickel
    Nolan's effort is not dishonorable, but what it needs, and doesn't have, is a Joker in the deck--some antic human antimatter to give it the giddy lift of perversity that a bunch of impersonal explosions, no matter how well managed, can't supply.
    • 70 Metascore
    • 50 Richard Schickel
    Morris's manner of relating this story is very often quite inappropriate to its substance. It is a sordid and appalling tale and what it demands is almost an anti-style -- rough, crude, grim, technically poor imagery unrelieved by sleek, slick fancy work. If you are going to rub our noses in this ugliness, you must not let up until, perhaps, we have learned our lesson.
    • 70 Metascore
    • 50 Richard Schickel
    What Willis proves in Die Hard is that it is not one you can ease through, especially if your preparation runs more to body building than to character building. [July 25, 1988]
    • Time
    • 68 Metascore
    • 60 Richard Schickel
    Gibson is a primitive all right, but so were Cecil B. DeMille and D.W. Griffith, and somehow we survived their idiocies.
    • 68 Metascore
    • 60 Richard Schickel
    Christie has already won prizes for the knowing weariness of her performance, and Flynn Boyle probably deserves some for her ferociously stated frustrations. But their clarity can't quite cut through the thickness of the film's air or compensate for the wooziness it induces.
    • 68 Metascore
    • 50 Richard Schickel
    It renders passion dispassionate and turns murder into a kind of fashion statement, something we observe without really caring about.
    • 66 Metascore
    • 40 Richard Schickel
    The film finally collapses under the burden of implausibility.
    • 66 Metascore
    • 60 Richard Schickel
    Even when one of the pieces stutters, stammers or just lies deathly still, we are consoled by our knowledge that it will not trifle with us for very long. And by the fact that there is an excellent likelihood that it will soon be replaced by something more engaging.
    • 66 Metascore
    • 40 Richard Schickel
    There is no rhyme or reason to this jumble -- except perhaps to stress Edith's endless self-victimization. This lack of narrative coherence naturally has the effect of distancing us from her story.
    • 66 Metascore
    • 50 Richard Schickel
    The result is a well-tooled machine chugging coldly along a twisting road to nowhere.
    • 65 Metascore
    • 50 Richard Schickel
    Rain Man's restraint is, finally, rather like Raymond's gabble. It discourages connections, keeping you out instead of drawing you in. [19 Dec 1998]
    • Time
    • 65 Metascore
    • 50 Richard Schickel
    How well do Bond's established conventions survive after a third of a century's hard use, the post-cold war deglamourization of espionage and the arrival of yet another actor in the central role? The short answer is, on wobbly knees.
    • 65 Metascore
    • 60 Richard Schickel
    Dark, detailed and only really gets going when the gunplay starts.
    • 65 Metascore
    • 50 Richard Schickel
    Well acted and, within its limited terms, well made, Gallipoli represents a failure of nerve as well as design.
    • 65 Metascore
    • 40 Richard Schickel
    Sells out real satirical possibilities to its marketing potential as teen fluff. Everyone loses -- except Hedaya, who keeps faith with his character's nutsiness.
    • 65 Metascore
    • 60 Richard Schickel
    It is very tiresome peering through the gloom trying to catch a glimpse of something interesting, then having to avert one's eyes when it turns out to be just another brutally tormented body.
    • 64 Metascore
    • 50 Richard Schickel
    Made with a sort of tasteful vulgarity, this movie never disappoints the slack-minded audience's anticipation of the humanistically healing banality, the life-crushing behavioral cliché.
    • 63 Metascore
    • 40 Richard Schickel
    The result is tiresome and tone-deaf and a disappointing comeback for Bogdanovich.
    • 62 Metascore
    • 60 Richard Schickel
    Grace is not as tightly wound as the best of its breed, but it is a genial way to pass the time.
    • 62 Metascore
    • 50 Richard Schickel
    Something more surprising might have been made of this odd couple, but Van Sant, emptily employing the realist manner of his early films, is goodwill hunting in all the wrong places.
    • 62 Metascore
    • 40 Richard Schickel
    Dispassionate, curiously lifeless, lacking the energy of either youthful commitment or a deeply engaged re-examination of the past.
    • 62 Metascore
    • 60 Richard Schickel
    The Farrellys need to remember this: Sappiness is easy, comedy is hard.
    • 62 Metascore
    • 50 Richard Schickel
    Harris and Mastrantonio do have a strong death and resurrection sequence, but long before that, one is pining for a rubber shark or a plastic octopus -- anything, in fact, out of a good old low-tech thriller. [14 Aug 1989, p.79]
    • Time
    • 61 Metascore
    • 50 Richard Schickel
    Julie Taymor's inventiveness has diminished to a kind of strained cuteness. Everything that makes an artist an artist -- the obsessions, the egotism -- is ignored in favor of upbeat movie conventions.
    • 61 Metascore
    • 50 Richard Schickel
    It is a daring thing the director has done, this bleaching out of all the cheap thrills, this dashing of all the hopes one brings to what is, after all, advertised as "a masterpiece of modern horror." Certainly he has asked much of Nicholson, who must sustain attention in a hugely unsympathetic role, and who responds with a brilliantly crazed performance.
    • 61 Metascore
    • 50 Richard Schickel
    One has to admit that enormous moviemaking skill goes into the creation of pictures like The Incredible Hulk. The sheer craft directors such as Leterrier lavish on them is awesome to me. I can't imagine how they orchestrate -- or even remember -- all the little pieces of film they require to build their big set pieces. That thought, however, is nearly always followed by this question: Why do they bother?
    • 60 Metascore
    • 50 Richard Schickel
    De Niro's is a domineering performance, a star turn that is both comic and menacing, but it unbalances Wolff's story.
    • 60 Metascore
    • 60 Richard Schickel
    There are pain and honor in this performance, and they constantly rise up to redeem a film that is less probing, less thoughtful than its director's claims and aspirations for it.
    • 59 Metascore
    • 40 Richard Schickel
    Loutishness without self-awareness remains loutishness--and it is finally depressing.
    • 59 Metascore
    • 60 Richard Schickel
    Reynolds can't help looking rather shifty as he relates his story and Breslin, who was so wonderful in Little Miss Sunshine, is obliged to play a standard-issue wise child.
    • 58 Metascore
    • 50 Richard Schickel
    Faithful both to the novel's plot and to its higher aspirations. This is not an entirely good thing. On the other hand -- and somewhat surprisingly -- it is not an entirely bad thing.
    • 58 Metascore
    • 50 Richard Schickel
    A pretty but utterly misleading picture in which cheap sentiment is used to supply easy, false resolutions to agonizing issues.
    • 57 Metascore
    • 60 Richard Schickel
    These stories, alas, are utterly predictable. Still, Samuel L. Jackson breaks through the crust of cliches as an expert called in to verify the instrument's provenance, and violinist Joshua Bell plays and Esa-Pekka Salonen conducts John Corigliano's score ravishingly.
    • 57 Metascore
    • 40 Richard Schickel
    The Santa Clause presents us with an Anti-Claus, Tim Allen of Home Improvement, hard-edged, discomfitingly frenetic and spritzing cheerless one-liners.
    • 56 Metascore
    • 60 Richard Schickel
    Not so good is the absence of hip cross-references to the classic horror tropes.
    • 56 Metascore
    • 60 Richard Schickel
    Cutting through the epic gesturings of Andy Tennant's direction, he (Yun-Fat Chow) provides reason enough to return one last time to this otherwise weary romance
    • Time
    • 56 Metascore
    • 60 Richard Schickel
    There's something refreshing about its utterly unembarrassed embrace of the familiar. The director, George Tillman Jr., either doesn't notice or doesn't give a hoot about the way Scott Marshall Smith's script piles up cliches.
    • 56 Metascore
    • 60 Richard Schickel
    The movie and everyone in it remain, under Ivan Reitman's determinedly casual direction, very loosely organized. They amble agreeably, but not necessarily hilariously, from one special-effects sequence to the next. These are not better, worse or even different from the original's trick work, and their lack of punctuating surprise is the film's largest problem, especially at the shamelessly repetitive climax. [26 June 1989, p.89]
    • Time
    • 55 Metascore
    • 50 Richard Schickel
    I'll stipulate that in Austen's time spinsterhood was a fate to be strenuously avoided. And being a woman writer was by no means an easy path either. Yet, she embraced it, and the immortal results more than justify a hard choice this film never really explores.
    • 55 Metascore
    • 50 Richard Schickel
    Thin, gulpy, awkward, it stands before us, artlessly begging sympathy but betraying its creator's worst weakness. [9 Mar 1987, p.86]
    • Time
    • 55 Metascore
    • 60 Richard Schickel
    This wisp of a movie turns out to be more thoughtfully affecting than many a more high-flying film.
    • 55 Metascore
    • 50 Richard Schickel
    Starsky & Hutch has moments of hilarity a little greater than you might expect of a movie that is just out for a lazy good time.
    • 55 Metascore
    • 60 Richard Schickel
    There are a reserve and a realism in Huston's work that make her very modest film more affecting than you might expect.
    • 54 Metascore
    • 50 Richard Schickel
    One of this movie's implications--and it's a common enough one these days--is that sensitivity is a quality impossible to find in straight guys. [20 April 1998]
    • Time
    • 54 Metascore
    • 60 Richard Schickel
    The result is half Python, half Ivanhoe--and not as much fun as either.
    • 54 Metascore
    • 60 Richard Schickel
    These aren't really characters; they are points on a rigidly conceived political spectrum. Singleton has made all the right political moves given his complicated circumstances, but he hasn't really made a movie of them.
    • 54 Metascore
    • 40 Richard Schickel
    Lee must have thought he could work a similar magic on this clunking, clanking machine. But despite a few witty wipes and split-screen tricks, he fails. Hulk is no better than hulking.
    • 54 Metascore
    • 40 Richard Schickel
    That Max Smart is played by the admirable Steve Carell, who is desperately looking for deadpan jokes in all the wrong places, is beside the point.
    • 54 Metascore
    • 40 Richard Schickel
    Things finally work out all right--except for audiences, who will find this thin movie bereft of the more richly textured sentiments of Tornatore's "Cinema Paradiso."
    • 54 Metascore
    • 50 Richard Schickel
    What saves this movie from hopeless sentimentality is Meryl Streep's subtle performance.
    • Time
    • 53 Metascore
    • 60 Richard Schickel
    Maggie Smith and Judi Dench are glorious comic actresses, while Joan Plowright provides a firm, touching moral center to the film. They almost make you forget Cher's totally out-of-it work as a disapproved-of American and carry the film to its destiny, which is one of inoffensive inconsequence, prettily staged. [24 May 1999, p.88]
    • Time
    • 53 Metascore
    • 50 Richard Schickel
    There's something about her (Nair) Vanity Fair that doesn't quite work. There is no depth beneath its bright surfaces, no potent emotional undercurrents.
    • 53 Metascore
    • 40 Richard Schickel
    O
    On your already groaning Shakespeare for Teens video shelf, stack this one above "10 Things I Hate About You" (a.k.a. "The Taming of the Shrew") and quite a bit below "Romeo + Juliet."
    • 52 Metascore
    • 50 Richard Schickel
    The best you can say for this version of Charlie's Angels is that it retains a sort of chipper, eerie good nature as it wastes the studio's money and our time.
    • Time
    • 52 Metascore
    • 50 Richard Schickel
    Director Pellington's touch is light and flickering, and his actors are solid and persuasive. If you let yourself go with The Mothman Prophecies, it is -- in its lumpen, serious way -- sort of fun.
    • Time
    • 52 Metascore
    • 60 Richard Schickel
    Your affection for Serendipity may depend on how fascinated you are by a movie that is apparently going after the all-time record for delayed consummation.
    • Time
    • 52 Metascore
    • 50 Richard Schickel
    Ends up less than the sum of its many, often interesting parts.
    • Time
    • 51 Metascore
    • 60 Richard Schickel
    Maybe the filmmakers are so lost in their slambang visual effects that they don't give a hoot about the movie's scariest implications. [10 Nov 1997, p.102]
    • Time
    • 51 Metascore
    • 50 Richard Schickel
    It's all so predictable. And you begin to wonder, as you so often do at the movies these days, why did they bother? And more to the point, why should we bother? [15 June 1998, p.72]
    • Time
    • 50 Metascore
    • 40 Richard Schickel
    But we don't go to movies like this in search of stylish apercus. We go to see innocents like ourselves getting swept up by irresistible tides of terror. And to have the pants scared off us. That doesn't happen in The Pelican Brief.
    • 50 Metascore
    • 50 Richard Schickel
    Mostly, the new film reminds us that swell production design is no substitute for a fresh, simple and startling idea.
    • Time
    • 50 Metascore
    • 40 Richard Schickel
    When our sympathies shift to [Cameron Diaz's Kimmy], the movie sours. It is no help either that Ronald Bass neglected to write (or Mulroney was unable to find) a character in Michael. Why all this fuss over this lox, we keep wondering.
    • 50 Metascore
    • 40 Richard Schickel
    Their film is not so much thought out as strung together -- colorful incident upon colorful incident, but without logic, gathering suspense or any attempt to establish emotional connections between audience and actors.
    • 50 Metascore
    • 50 Richard Schickel
    For all the menace of its techno-prattle, its implicit boosts for humanism and its swell production design, the picture is finally a bore. Sci-fi was more powerful when its special effects were cheap and crude, its ideas simple but potently stated.
    • 49 Metascore
    • 50 Richard Schickel
    A fine--but not entirely uninteresting—mess. [2 Jun 1997, p. 74]
    • Time
    • 49 Metascore
    • 50 Richard Schickel
    Soderbergh doesn't miss a trick, and for a while it's fun for us to share in his fun. But there comes a moment when his Euro-noir film turns into another sort of exercise for the audience: an exercise in boredom.
    • 48 Metascore
    • 60 Richard Schickel
    Dolman's comedy isn't exactly a barrel of emotional surprises, but its great cast underachieves admirably. There are worse ways to pass 94 minutes.
    • 48 Metascore
    • 40 Richard Schickel
    But in shaping their tale for the screen, shouldn't he have honored their courage--and, yes, inventiveness--with something other than cliches?
    • 48 Metascore
    • 60 Richard Schickel
    There is an inherent problem about any sequel that too slavishly duplicates the style and substance of its predecessor; it cannot deliver the delight of discovery that the original provided. Axel made a swell first impression, but he is still living on it, perhaps not yet a bore, but not quite as fascinating as he once promised to be.
    • 47 Metascore
    • 40 Richard Schickel
    It just runs on and on -- like a slightly stupid story you wish you hadn't overheard in a singles bar.
    • 47 Metascore
    • 50 Richard Schickel
    You're entitled to ask for more than that in a comedy, but these days you're often obliged to settle for a lot less.
    • 47 Metascore
    • 40 Richard Schickel
    The actors, especially the ever appealing Smith, do what they can to ground the movie in reality, but it stubbornly remains dawdling, remote and pretentious.
    • 47 Metascore
    • 50 Richard Schickel
    Diverting without being fully absorbing, this is a film best appreciated as an exercise in--shall we say it?--Primal Gere. [15 Apr 1996, p.100]
    • Time
    • 46 Metascore
    • 40 Richard Schickel
    The weather is always inclement, the protagonists are all muddy when they're not bloody, King Arthur's Christianity is muscular but joyless, and Guinevere is often daubed with blue paint. No, folks, we're not in Camelot anymore.
    • 46 Metascore
    • 60 Richard Schickel
    A lot of the gags are pretty good. It's not that Star Wars is less worthy of satire than horse opera or gothic horror. It's not that Mel Brooks has lost his cunning, though he does need a freedom of speech not to be found under a PG rating. What's missing is that zany old gang of his. There is simply nobody like them on this trip. [13 July 1987, p.68]
    • Time
    • 46 Metascore
    • 40 Richard Schickel
    Not a bad concept, and Martin Lawrence is appealing. Unfortunately, the writers have no gift for comic writing.
    • 45 Metascore
    • 50 Richard Schickel
    Somehow, by a narrow margin, the film doesn't quite make it. Potter recolored his work a little more sunnily, and it is, perhaps, too compressed; it needs TV's room to digress.
    • 45 Metascore
    • 50 Richard Schickel
    It's kind of fun--if you have the stomach for its more grisly passages.
    • 45 Metascore
    • 50 Richard Schickel
    To make something like Firewall good, you have to make it at least a little bit new--or add more than an unending patter of rain and techno-talk.
    • 45 Metascore
    • 40 Richard Schickel
    Maid in Manhattan is not so much a movie as a collection of career moves. J. Lo needs a comedy hit to support her principal activity, adorning magazine covers. Fiennes needs to warm his austere British image if he hopes to become a true international star.
    • Time
    • 45 Metascore
    • 40 Richard Schickel
    Will the movie end in an orgy of sentiment? Why do we bother to ask?
    • 45 Metascore
    • 50 Richard Schickel
    It's a faux epic -- swell costumes, historically authentic settings, a certain amount of bustle and skulking, but very little dramatically gripping activity.
    • 45 Metascore
    • 50 Richard Schickel
    It's as if everyone was just a little too much in tasteful awe of its subject, who is played rather stolidly by Nick Nolte.
    • 44 Metascore
    • 40 Richard Schickel
    The net result of this mighty effort is perhaps predictable: near total inconsequence.
    • Time
    • 44 Metascore
    • 60 Richard Schickel
    We forgive Bridget the movie its obvious flaws because of its equally inescapable charm.
    • 44 Metascore
    • 50 Richard Schickel
    Essentially a liberal soap opera.
    • 43 Metascore
    • 60 Richard Schickel
    Writer Leslie Bohem and director Roger Donaldson brush briskly through the standard scientific and romantic blather. They know that in movies like this, complexity is the province of the special-effects people.
    • 41 Metascore
    • 50 Richard Schickel
    Curiously, if fitfully, intriguing.
    • 41 Metascore
    • 50 Richard Schickel
    Better luck next time, Owen.
    • 41 Metascore
    • 50 Richard Schickel
    This reflects its fundamental flaw of arrogance, a smug faith in the ability of its own speed, smartness and luxe to wow the yokels.
    • 40 Metascore
    • 40 Richard Schickel
    Inept works like Good, which remains, like most such works, on the anecdotal fringe of the problem.
    • 40 Metascore
    • 50 Richard Schickel
    It's because of AnnaSophia Robb's performance...I don't think you'll see a more fascinating and nuanced performance at the movies this year.
    • 39 Metascore
    • 50 Richard Schickel
    A watchable film, but it -- and its star -- might have done so much more.
    • 35 Metascore
    • 40 Richard Schickel
    But that's the thing about this movie. It never leaves well enough, or good enough, alone. It keeps looking--sometimes a little too hard--for ways to transform the ordinary into the discomfiting.
    • 34 Metascore
    • 40 Richard Schickel
    Bewitched means to be a civilized entertainment, which occasionally it is. But the gentility of this antique sitcom cannot be recaptured at this late date.
    • 34 Metascore
    • 40 Richard Schickel
    Ultimately the script's often sharp social satire is drowned out by the noise and confusion.
    • 33 Metascore
    • 60 Richard Schickel
    This film, based on a true story, transcends its handsomeness to present a subtle portrait of a woman's growing consciousness.
    • 23 Metascore
    • 50 Richard Schickel
    You don't quite believe that a smart woman would spend so much time on such a dumb mission.

Top Trailers