For 1,302 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Rick Groen's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Pump Up the Volume
Lowest review score: 0 Far and Away
Score distribution:
1,302 movie reviews
    • 49 Metascore
    • 63 Rick Groen
    The promise is dangled yet never developed. Rather, the narrative slips into a backstory that alternates between confusing and contradictory.
    • 64 Metascore
    • 63 Rick Groen
    There's as much to draw us in, but far less to put us off. [13 Jun 1997]
    • The Globe and Mail (Toronto)
    • 80 Metascore
    • 63 Rick Groen
    More humdrum than horrible. It isn't futuristic film noir; it's just everyday film beige.
    • 73 Metascore
    • 63 Rick Groen
    The laughs in Working Girl are the laughs of near-recognition - just good enough to make us wish they were much better.
    • 71 Metascore
    • 63 Rick Groen
    The wonder is that the cast -- a terrific ensemble with talents honed on such hallowed stages as the Abbey Theatre -- brings it off with far more verve than the slight tale deserves.
    • 67 Metascore
    • 63 Rick Groen
    Most British actors are awfully good at underplaying the overwritten, and this group, headed by Matthew Macfadyen, Rupert Graves and Daisy Donovan, is no exception -- where others would mug, they demitasse.
    • 67 Metascore
    • 63 Rick Groen
    Initially, the quick dialogue and strong cast obscure, at least partly, the fact that the plot is itself a dirty trick, a bit of a con game. Once the deception is seen through, the movie ends up inadvertently mimicking its subject matter: Like politics, it too leaves you disillusioned.
    • 47 Metascore
    • 63 Rick Groen
    I'm not saying that a date with this picture is all pleasure; but it's not all guilt either.
    • 72 Metascore
    • 63 Rick Groen
    All the kids here are terrific, significantly better than the actual movie that surrounds them. Although ostensibly fashioned by Abrams, it's really a summer-weight Spielberg yarn.
    • 49 Metascore
    • 63 Rick Groen
    Turns a blind eye to the very history it pretends to teach.
    • 35 Metascore
    • 63 Rick Groen
    Fabulous idea/faulty execution is the review.
    • 51 Metascore
    • 63 Rick Groen
    It does the job just fine. That job, as director George Lucas freely admits, is quite simply to thrill the beating hearts and the inquiring minds of 12-year-old boys.
    • 61 Metascore
    • 63 Rick Groen
    Jane Campion makes a beeline for the repressed sexuality, and loses the nuance. [17 Jan 1997]
    • The Globe and Mail (Toronto)
    • 72 Metascore
    • 63 Rick Groen
    Very few movies end so much better than they begin. For that reason, and only that reason, this is an exceptional picture.
    • 35 Metascore
    • 63 Rick Groen
    McCarthy delivers the moment of pathos in a totally different voice, tears staining her puffy face, as feelings awfully real and tainted in tragedy bubble up from deep within the comic persona. It’s startling, it’s wholly incongruous, yet it’s undeniably moving. God, how this woman can act and, within the brief frames of that different film, how we long to see the rest of it.
    • 38 Metascore
    • 63 Rick Groen
    A feel-good flick that doesn't make you feel too bad -- in this genre, that almost qualifies as a ringing endorsement.
    • 53 Metascore
    • 63 Rick Groen
    In this tale of two lives, Being Flynn gets the emphasis wrong. The success that has many fathers is altogether predictable; it's the despicable orphan of failure who has us in his thrall.
    • 31 Metascore
    • 63 Rick Groen
    In an era when the words "President" and "penis" can occupy the same sentence and prompt nothing but yawns, this picture actually manages to surprise, to startle, yes, to administer a series of small but genuine shocks.
    • 61 Metascore
    • 63 Rick Groen
    The sounds are fine and, thanks to technology's ever-progressive march, the sights are even better. But that third S -- the story -- remains the sticking point, and ain't it always the way.
    • 82 Metascore
    • 63 Rick Groen
    Offers you the ostensible bargain of two movies in one -- a character study at the outset and the crime caper that follows. The first picture is intriguing, the second stinks.
    • 68 Metascore
    • 63 Rick Groen
    Despite his flair for trenchant dialogue, nicely complemented by Mark Isham's bluesy jazz score, Rudolph whets our appetite but then fails to deliver. The picture limps to its ending and leaves us with nothing to hold onto.
    • 69 Metascore
    • 63 Rick Groen
    This is well-crafted retro horror, too familiar to be really scary but smart enough to be fun. And funny too, with the kind of pure laughs that grow organically from the script, untainted by the chemical spray of irony.
    • 67 Metascore
    • 63 Rick Groen
    The setting is unique, the cast is terrific, the dialogue crackles and, if only there were a plot worth believing, In Bruges might have been a fine film.
    • 36 Metascore
    • 63 Rick Groen
    Well acted and crisply directed, this latest version can at least make a claim to competence.
    • 53 Metascore
    • 63 Rick Groen
    Along the way there are definitely some pleasing distractions, just not enough to obscure the growing realization that a much better picture could have been made, and wasn't. Many films never have a chance, but this one did – it's an opportunity wasted.
    • 75 Metascore
    • 63 Rick Groen
    The impact should be visceral and gut-wrenching; instead, it's cool and cerebral – after all, we're being lectured in a lecture hall.
    • 50 Metascore
    • 63 Rick Groen
    By stripping the genre down to its essentials, long on the serial disasters but thankfully light on the stupid dialogue, [Petersen] not only maintains an acceptable modicum of suspense but -- here's the major bonus -- also manages to set a blissful speed record in the process, bringing his pricey blockbuster home to port in under 100 minutes.
    • 62 Metascore
    • 63 Rick Groen
    V for very, very ordinary.
    • 56 Metascore
    • 63 Rick Groen
    Minghella is a smart guy with splendid intentions but, ultimately, he's a victim here of his own liberal contrivances.
    • 55 Metascore
    • 63 Rick Groen
    The whole caper loses its rhythm and its direction around the two-thirds mark. By the finish, the punch has left the lines, and the once-purposeful energy goes mindlessly manic - gone are both the point and the parody.
    • 72 Metascore
    • 63 Rick Groen
    It's a treat because, making no apologies for the source material, director Guillermo del Toro lets his picture gorge on power bars of pop energy, sugared with sprinkles of playful humour, and, at least twice, laced with a visual style so piercingly keen that horror morphs into beauty. Not bad for a pulpy outing.
    • 62 Metascore
    • 63 Rick Groen
    The film is sometimes funny and occasionally smart yet never quite what it wants to be – funny and smart at the same time.
    • 62 Metascore
    • 63 Rick Groen
    42
    In the hallowed frames of 42, the legend is front and centre and still inspiring. Too bad the more interesting man is nowhere to be seen.
    • 54 Metascore
    • 63 Rick Groen
    Black comedies don't get much darker than this.
    • 82 Metascore
    • 63 Rick Groen
    A picture with pop's delicious energy yet none of its attendant risk, a flick that no one will love but everyone will like.
    • 61 Metascore
    • 63 Rick Groen
    Individually, Dawson and Cassel each generate plenty of screen heat, but, together in that one bedroom scene, their chemistry is downright explosive, so much so that it seems we have strayed into a whole different movie, and dearly want to stay there.
    • 57 Metascore
    • 63 Rick Groen
    Actor-turned-director Tony Goldwyn elicits solid performances from the cast, then undercuts them by resorting to a trite montage or a clunky set-piece, inevitably scored with an obtrusive rock tune telling us what to feel and when to feel it.
    • 75 Metascore
    • 63 Rick Groen
    To his credit, Beatty has designed Bulworth along the classic lines of Shakespeare's Fool -- the antic truth-speaker who has the ear of the court.
    • 72 Metascore
    • 63 Rick Groen
    While the initial sequence is glorious, the last is a shambles.
    • 63 Metascore
    • 63 Rick Groen
    No matter how strange it gets, or how distorted for political gain or refined for religious purposes, its essence is hard to pin down, even after a 2 1/2 -hour search.
    • 68 Metascore
    • 63 Rick Groen
    Once again, Cianfrance handles the individual scenes with menacing aplomb but, once again, the whole is much less than the sum of its parts.
    • 56 Metascore
    • 63 Rick Groen
    As a motion picture, Fever Pitch is merely competent.
    • 56 Metascore
    • 63 Rick Groen
    The bloody narrative has an oddly bloodless effect. But that's not surprising – not when a film is so eager to double as a lecture.
    • 54 Metascore
    • 63 Rick Groen
    Oblivion is an okay blockbuster, a multimillion-dollar exercise in competence.
    • 57 Metascore
    • 63 Rick Groen
    The humour may not be wickedly black, but once in a while it’s amusingly beige.
    • 45 Metascore
    • 63 Rick Groen
    First things first: As one of my wise editors noted, no person who can flash as many teeth as Julia Roberts should ever star in a movie called Mona Lisa Smile.
    • 78 Metascore
    • 63 Rick Groen
    The plot is bare-bones stuff, weak in story line and bereft of motivation.
    • 71 Metascore
    • 63 Rick Groen
    What benefits the picture early on, giving it a casual air, becomes cloying in the later going, making it feel like a smug exercise in mutual admiration.
    • 39 Metascore
    • 63 Rick Groen
    Nevertheless, in mid-reverie, there's no denying the pleasure in falling under its little spell -- till human voices wake us, and we frown.
    • 65 Metascore
    • 63 Rick Groen
    Political thrillers with flawed heroes demand a different potion, one that mixes the grit of reality with the seeds of excitement until they reach a critical mass and explode. In that sense, for all its strengths and good intentions, The Debt owes a debt to the wrong genre – Birkenau wasn't fantasy; too often, this movie is.
    • 50 Metascore
    • 63 Rick Groen
    Of course, bad writing can undo the best actor. If you doubt that, check out De Niro's soliloquy at the film's climax. He's acting the heck out of the words, but they're still dragging him down with them.
    • 46 Metascore
    • 63 Rick Groen
    Yet these are precisely the sort of pictures that divide audiences over a central question: Are those strings being honestly played or just shamefully pulled? Of course, the answer determines whether you feel moved or merely manipulated.
    • 68 Metascore
    • 63 Rick Groen
    There's a continuing delicacy to [Singer's] direction that gives the audience room to breathe and reason to linger. This may not be a grownup movie but -- unlike the Star Wars franchise or the Batman sequels -- it is a movie that grownups can watch minus the requisite bottle of Excedrin.
    • 82 Metascore
    • 63 Rick Groen
    Yet, for all that's wrong here, one thing is wonderfully, blissfully right, and his name is Tom Hanks.
    • 59 Metascore
    • 63 Rick Groen
    An amiable action-comedy, amiable enough that the laughs come in a steady drizzle if not a torrent, and that the action is something blissfully less than the usual full-out assault on our battered senses.
    • 76 Metascore
    • 63 Rick Groen
    An overdose of sympathy makes for a wispy picture, likeable certainly but lacking in crispness and clarity.
    • 64 Metascore
    • 63 Rick Groen
    One Hour Photo is two-thirds of a movie -- the last act is a bit of a shambles.
    • 58 Metascore
    • 63 Rick Groen
    It's the sort of big thought that makes a small point, which is precisely the problem with Life in a Day. A documentary that looks to give this notion visual form, it strives awfully hard for depth but, more often than not, comes off too shallow.
    • 61 Metascore
    • 63 Rick Groen
    An hallucinatory mix of the imagined and the real, all revolving around the mystery at the cold heart of the tale.
    • 55 Metascore
    • 63 Rick Groen
    Hitchcock unspools at that deliciously silly juncture where biography meets fallacy. Translation: Any director who could crank out Psycho must be a crackpot himself.
    • 46 Metascore
    • 63 Rick Groen
    Festival in Cannes is definitely Jaglomesque, but can't get that tricky balance right -- the result is a picture as charmingly insubstantial as the world it invokes.
    • 56 Metascore
    • 63 Rick Groen
    Popped in the oven and marked with a predictable P, The Family Stone is the Christmas cookie of Christmas movies -- this thing is so pat it should come with the recipe attached.
    • 55 Metascore
    • 63 Rick Groen
    Speaking of that deadly finale, it's easily the best part of the picture. Beautifully edited, shot in fluid slow-motion, scored to a traditional Irish ballad crooned in a child's tremulous voice, the violence of the climax is anthemic. The whole sequence is undeniably moving.
    • 74 Metascore
    • 63 Rick Groen
    This is a movie that works well when it works, and lazes around the rest of the time.
    • 48 Metascore
    • 63 Rick Groen
    Women deserve better women's pictures -- men too.
    • 59 Metascore
    • 63 Rick Groen
    Ultimately, Sliding Doors becomes a victim of its own cleverness, shutting down all that early promise.
    • 52 Metascore
    • 63 Rick Groen
    Fables should be succinct, and Konchalovsky lets his run on too long.
    • 61 Metascore
    • 63 Rick Groen
    Shows promise, but needs more effort, and definitely doesn't play well with others. [7 Jun 1996, p.C2]
    • The Globe and Mail (Toronto)
    • 69 Metascore
    • 63 Rick Groen
    Disappointingly unique.
    • 82 Metascore
    • 63 Rick Groen
    Oh, it's The Return, all right. To any masochist who's been pining for all those clichéd tropes associated with Russian cinema -- ponderous pacing and arcane symbolism shot through a lens darkly -- this will seem a welcome blast from the past.
    • 66 Metascore
    • 63 Rick Groen
    In the slow coast down Notting Hill, we approach the blessed land of Nodding Off.
    • 45 Metascore
    • 63 Rick Groen
    Like its predecessor, this is a basic bungalow of a flick, where low-maintenance superheroes take their ease and you can pay your (dis)respects painlessly enough. In short, okay to visit, wouldn't want to live there.
    • 67 Metascore
    • 63 Rick Groen
    Aesthetically, this isn't a great documentary, although, during the first half, there are great moments in it. But the latter part is scattered and frenzied, rather like an excited dog tearing off after too many rabbits at once -- a thematic hunt that's all chase and scant context.
    • 66 Metascore
    • 63 Rick Groen
    So is the result just a case of life imitating pop art, or has the director shaped the footage to enhance the imitation?
    • 59 Metascore
    • 63 Rick Groen
    Most of the cast (along with director Joe Mantello) have been recruited from the stage play, and they all do a fine job of trimming their performances for the screen.
    • 73 Metascore
    • 63 Rick Groen
    The makers of Shattered Glass ignore this obvious give-and-take reality, and substitute the hoary myth that, save for the odd lying devil, the free press is a bastion of the gospel truth. Even here, then, the facts get shaped to fit the theme. Ironically, had they not, it would have made for a helluva better story.
    • 84 Metascore
    • 63 Rick Groen
    He gets much of what he wants, but not all of it, and not all of the time - the film is just too eclectic on occasion, a bit jumpy in its tone and its pacing.
    • 63 Metascore
    • 63 Rick Groen
    Despite Auteuil's performance, it's a rather listless amble down the middle of the road, where the thematic ironies are too obvious and the sexual politics too smug.
    • 46 Metascore
    • 63 Rick Groen
    A poet is not a pirate (except in his dreams), and, minus the gold in his teeth and kohl over his eyes and trinkets in his tresses, Depp is handicapped here -- for all his deft brushwork, he can only do so much with a flat character on a small canvas.
    • 82 Metascore
    • 63 Rick Groen
    From my doddering perspective - rheumy with a view - Volume 3 puts plenty of cinema into the picture but leeches all the charm out of the tale.
    • 52 Metascore
    • 63 Rick Groen
    Great pictures are seamless; in this one, you can not only see the seams but count the stitches.
    • 59 Metascore
    • 63 Rick Groen
    Don't Move comes to seem as static as its title -- we just don't learn enough to compensate for feeling so little.
    • 72 Metascore
    • 63 Rick Groen
    Normally, such saccharine inspiration only manages to clog the heart, not warm it. But there's a true original in this den of clichés and her name is Keke Palmer.
    • 68 Metascore
    • 63 Rick Groen
    It's mainly a hunt for ironies, usually playful but occasionally poignant, and the search is definitely successful enough to merit our attention -- although maybe not the two-hour running time.
    • 66 Metascore
    • 63 Rick Groen
    When the bloody climax comes, we look on apathetically, as desensitized to the violence as a pornographer is to sex.
    • 61 Metascore
    • 63 Rick Groen
    Ultimately, the movie suffers from the same fate as its characters. That first explosive scene creates a state of shock, leaving everyone and everything to drift about in a numbing vacuum.
    • 66 Metascore
    • 63 Rick Groen
    I love the City of Light as much as any starry-eyed provincial, but Paris, je t'aime tries even my considerable patience.
    • 58 Metascore
    • 63 Rick Groen
    The result is a war picture that, trying to pass off fidelity to the book as objectivity, sacrifices any voice of its own, and ends up not knowing what to think.
    • 76 Metascore
    • 63 Rick Groen
    As manipulative as a charmer with a snake, and twice as much fun... Shameless, yes, but open your eyes, close your mind, sit back and enjoy - 'cause it feels so good.
    • 73 Metascore
    • 63 Rick Groen
    We're left with the weakest part of the novel -- the lurching and often melodramatic plot -- plus the chance to see two splendid actors, Judi Dench and Cate Blanchett, do the best they can with what they're given (sadly, in Blanchett's case, not much). Okay, no one would call that trade-off a scandal, but it sure ain't much of a bargain.
    • 45 Metascore
    • 63 Rick Groen
    Judi Dench is much more of a challenge. Drenched in powder and pomp, the grand old Dame pops up in a London carriage. She's there in a flash and then, as quickly, gone, and her fleeting presence is exactly like the fleeting merit of this fourth galleon in the portly franchise: It prompts stirrings, not quite all the way to feelings.
    • 55 Metascore
    • 63 Rick Groen
    The thing is just a clunky and tasteless and dumb scare picture, isn't it? Clunky, yes. Tasteless, for sure. But not so dumb I fear.
    • 52 Metascore
    • 63 Rick Groen
    Don't expect a Caravaggio, but if your taste turns to Hallmark, this is a good bet -- a straight-up Nativity story as safe as death and taxes.
    • 73 Metascore
    • 63 Rick Groen
    Cerebral without being dry, delicate without being dull, Mr. And Mrs. Bridge is a rarity: a drama of manners that breathes esthetic life into airless parlours, without either sentimentalizing the occupants or hyping the atmosphere. [21 Dec 1980]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 63 Rick Groen
    My advice is to choose the first half, where things are really funny until they aren't.
    • 74 Metascore
    • 63 Rick Groen
    The pat inspirational formula is followed to a sweaty T, although it comes here with an inadvertent side effect -- more than a few nagging questions never get answered.
    • 66 Metascore
    • 63 Rick Groen
    Mrs. Parker and the Vicious Circle is a bunch of bon mots in search of a larger theme. Happily, the mots are so very bon that the two hours breeze by quickly enough.
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 63 Rick Groen
    A lotta woe to sit through, with not much to think about and only one matter to address. After the two hours-plus have sped by with brutal alacrity, all that's left is for the survivors of the bloodbath to hose down and suss out a "new beginning." I'm still searching for mine, but you might have better luck.
    • 69 Metascore
    • 63 Rick Groen
    In the moments at his disposal, Smith almost steals the flick. He's so wittily government-phobic that I found myself hoping for a climax that would blow Bruce Willis away and promote Kevin Smith to saviour-of-the-free-world. Now that might be a sequel worth rooting for.
    • 63 Metascore
    • 63 Rick Groen
    Green may be right to avoid the melodramatic waves of the conventional thriller. But, if so, he needs to dive a lot deeper than this -- there's just not enough under in Undertow.
    • 64 Metascore
    • 63 Rick Groen
    Designer babies rule dystopia in stylish SF thriller filled with recycled plot devices.
    • 46 Metascore
    • 63 Rick Groen
    Thrills are in short supply, but so are annoyances. This is a maintenance-free ride.
    • 46 Metascore
    • 63 Rick Groen
    There's a good movie buried inside The Nanny Diaries, and a good cast trying hard to dig it out. Too bad they don't get much help.
    • 58 Metascore
    • 63 Rick Groen
    If you like your skiing extreme but your documentaries safe, then carve a sharp turn over to Steep.
    • 57 Metascore
    • 63 Rick Groen
    In The Company You Keep, old radicals never die – they just turn into old actors.
    • 59 Metascore
    • 63 Rick Groen
    The main flaw is an over-abundance of villains, a bout of narrative greediness that sees them marching out of their lairs like so many evil-doers-on-parade.
    • 64 Metascore
    • 63 Rick Groen
    Really wanting to get into our heads, 1408 tries awfully hard to play both sides of logic's boundary line -- tries and fails, and then succeeds, only to ultimately fail again. On the whole, the frights are frighteningly erratic.
    • 57 Metascore
    • 63 Rick Groen
    When [Jackcson]'s not on camera, Coach Carter feels like the two-hour opus it is — too long, too banal, a bit ridiculous. But when he is, nothing else seems to matter, and how sublime is that.
    • 77 Metascore
    • 63 Rick Groen
    The strangely hybrid result, half Herzog and half Hollywood, plays like its own battleground. Sometimes, the tension is fascinatingly productive; other times, all we get is the worst of both worlds.
    • 65 Metascore
    • 63 Rick Groen
    Ultimately a disappointment – this is a movie easy to watch and even easier to forget.
    • 68 Metascore
    • 63 Rick Groen
    Without its star, this picture would float off forgettably into the ether.
    • 60 Metascore
    • 63 Rick Groen
    Too often, Levin confuses passion with focus, intensity with clarity, and deflating lies with discovering truths.
    • 65 Metascore
    • 63 Rick Groen
    Somewhere along the way, Respiro just seems to run out of breath.
    • 63 Metascore
    • 63 Rick Groen
    Since life's infidelities have a way of ending on a messy note, it becomes art's responsibility to impose order upon the mess, to give it an aesthetically convincing shape. And that's exactly where Lyne falls short.
    • 68 Metascore
    • 63 Rick Groen
    Flashy, fun, shallow, easy-going and without a hope of brilliance.
    • 75 Metascore
    • 63 Rick Groen
    From its title on down, An Officer and a Gentleman (at the Plaza) is both a thoroughly rousing crowd-pleaser and a shamelessly manipulative banner-waver, a homage to the never-practiced ethics of a non-existent era. [28 Jul 1982]
    • The Globe and Mail (Toronto)
    • 83 Metascore
    • 63 Rick Groen
    A too-perfect mirror of its creator, The Apostle's greatest strength doubles as a singular weakness -- in the end, it feels like an immaculate forgery.
    • 43 Metascore
    • 63 Rick Groen
    Today's Total Recall does nothing to tarnish the image of yesterday's – 22 years from now, I expect it to be hailed as a classic.
    • 72 Metascore
    • 63 Rick Groen
    Dial your expectations to moderate, burrow in for the duration, and you won't be disappointed - it ain't exactly springtime, but there are worse things than an amiable outing on a winter's night.
    • 57 Metascore
    • 63 Rick Groen
    Don't think for a second that Hollywood has cornered the market on formula flicks. Ever since the prototypical success of "The Full Monty," those crafty Brits have been running their own mimeograph machine.
    • 69 Metascore
    • 63 Rick Groen
    Semi-decent, somewhat okay, not-half-bad.
    • 65 Metascore
    • 63 Rick Groen
    Tremors is never earth-shattering, but always competent. Modest in intention, fine in execution, it just wants to make a body smile, to stick a happy face on the monster movie. There are worse faults. [20 Jan 1990]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 63 Rick Groen
    No doubt, these twin saviours are a likeable tandem, and they bear their cross lightly. Still, End of Watch suffers from no end of sanctimony. Sainthood is all well and fine but it ain't drama and, on screen at least, the question cries out: Where's a corrupt cop when you need him?
    • 57 Metascore
    • 63 Rick Groen
    With its tasteful palette and twee charm, Miss Potter is the china plate of movies, a Peter Rabbit collectible entirely suitable for mounting on the nursery wall.
    • 58 Metascore
    • 63 Rick Groen
    So the promise of a proud director comes to nothing, and all my rooting goes for naught. Maybe, sadly, the metaphoric night that falls on Manhattan has finally begun to descend on Lumet -- and he's going gentle into it.
    • 54 Metascore
    • 63 Rick Groen
    Consequently, your reaction to the film will pretty much hinge on your opinion of the play. Ho-hum is my humble verdict.
    • 73 Metascore
    • 63 Rick Groen
    The result is a road movie with a lofty message that too frequently gets lost in its own thematic barrens.
    • 51 Metascore
    • 63 Rick Groen
    Once again, Candy does his slob-with-a-heart-of-gold number. He's good at it. He can be a funny fellow. He can even carry a mediocre picture all by his lonesome, squeezing a lot out of a little. What he can't do is squeeze that much out of this little. [16 Aug 1989]
    • The Globe and Mail (Toronto)
    • 68 Metascore
    • 63 Rick Groen
    Ultimately, Little Voice comes to us from an indeterminate place that is no longer the theatre but not quite the movies. Let's call it music videoland -- best just to sit back and enjoy golden-oldie tunes belted out by a quicksilver mimic.
    • 65 Metascore
    • 63 Rick Groen
    There's almost a perverse pleasure in watching occasionally weak performers mar an essentially sound screenplay. That's the saving grace of Saving Face -- Wu gets the hard part right.
    • 63 Metascore
    • 63 Rick Groen
    This is amusing, and even poignant in the final moments.
    • 54 Metascore
    • 63 Rick Groen
    Whereas the psychology is surreal and wonderfully fluid, the action is too real and surprisingly listless, displaying little of the kinetic zip, or the sheer lyricism, that Lee brought with such memorable effect to "Crouching Tiger."
    • 46 Metascore
    • 63 Rick Groen
    Who would have guessed that, among all the cutesy curves in Around the Bend, the guy walking the straightest line is Christopher Walken?
    • 67 Metascore
    • 63 Rick Groen
    The Unbelievable Truth is just that - epistemology served up with pop panache and a comic twist. [27 Jul 1990]
    • The Globe and Mail (Toronto)
    • 75 Metascore
    • 63 Rick Groen
    Always well-meaning, not always well-executed, In This World ends by suffocating us in its good intentions.
    • 68 Metascore
    • 63 Rick Groen
    EXistenZ, unlike existence, just lacks that certain mystique.
    • 76 Metascore
    • 63 Rick Groen
    This movie is captivating until it gets uplifting – Flight soars when it crashes and crashes when it soars.
    • 65 Metascore
    • 63 Rick Groen
    Never as good as you'd hoped or as bad as you'd feared, The Matador is one of those of up-and-down experiences -- here a sharp pica of wit, there a welcome veronica of absurdity, but, now and then, just a bit too much bull in the ring.
    • 59 Metascore
    • 63 Rick Groen
    A movie of its kind and of its time -- functional, professional, slickly manufactured and slouching toward consciousness -- I, Robot is a perfect slave to mechanical convention.
    • 59 Metascore
    • 63 Rick Groen
    Apatow rescued big-screen comedy from its lengthy wallow in the trough of dumb-and-dumber – we have good reason to thank the guy. Until now. In This Is 40, his fingerprints are still identifiable, but not nearly as crisp. They're starting to look smudged.
    • 57 Metascore
    • 63 Rick Groen
    A sputtering marathon of a movie. It starts, it stops, it sprints, it stumbles, occasionally following a straight narrative line, frequently darting off on colourful if pointless tangents, often commanding our attention yet never sparking our imagination.
    • 41 Metascore
    • 63 Rick Groen
    Patterns itself after the Greek model -- that is, more ethnic humour with a contemporary twist.
    • 79 Metascore
    • 63 Rick Groen
    Eastwood keeps retracing the same pattern, intercutting from the battlefield to the bond circuit, from the appalling chaos where no one feels heroic to the catered dinners where heroism is the dessert that sweetens the mood and opens the chequebooks. By now, though, the twinned structure seems fragmented, and neither half gets a chance to gather any emotional momentum or to further develop the theme.
    • 65 Metascore
    • 63 Rick Groen
    What's missing, in the direction no less than the script, is any real sense of dramatic urgency.
    • 72 Metascore
    • 63 Rick Groen
    Inevitably, all this seems just too diffuse, and a set of uniformly adept performances (even Harrelson puts a leash on his usual histrionics) tends to be wasted in an only intermittently engaging movie.
    • 64 Metascore
    • 63 Rick Groen
    Speaking as one of the mourners, did I mention how pleasant it is to revisit footage of John Lennon? And to listen to his music which, in this case, comes either in taped performances or laid onto the soundtrack, no fewer than 40 songs drawn almost exclusively from the post-Beatle, pro-Ono phase of his career.
    • 56 Metascore
    • 63 Rick Groen
    Harsh Times opens with a deadly nightmare and ends with a vast bloodbath -- in between, things get a little gruesome.
    • 68 Metascore
    • 63 Rick Groen
    What began as discomfiting satire soon devolves into silly farce. By the time Friends star Jennifer Aniston pops up as a waitress-cum-love-interest (quite a stretch for her), it's a sure sign we're back within the smug confines of the Tinseltown formula flick.
    • 61 Metascore
    • 63 Rick Groen
    This is a movie guaranteed to turn you into a vacillating commitment-phobe, embracing it passionately one moment and then backing off cautiously the next.
    • 63 Metascore
    • 63 Rick Groen
    A mix of credible sociology and tired melodrama, along with a palpable sense of déjà vu. Because the plight of boyz 'n' the hood is a global tragedy, its depiction on the screen has become a global commonplace with its own attendant danger – the tragedy is starting to feel trite.
    • 51 Metascore
    • 63 Rick Groen
    Once in a long while, it even comes tantalizingly close to that rarest of modern film commodities -- ribald wit.
    • 73 Metascore
    • 63 Rick Groen
    A film that appeared exceptional turns mundane.
    • 51 Metascore
    • 63 Rick Groen
    Windtalkers is to movies what Paris is to weather -- if you don't like the show you're watching, just wait a minute and an entirely different picture will blow into view.
    • 30 Metascore
    • 63 Rick Groen
    The concept is high but everything else is merely fair to middling, one more or less watchable B-movie in megabucks clothing.
    • 44 Metascore
    • 63 Rick Groen
    On the plus side, bloated narratives make for a busy action star, and Bruce is quite the workaholic on this outing, clearly eager to rekindle memories of his "Die Hard" glory days.
    • 43 Metascore
    • 63 Rick Groen
    An exuberant mess of a movie. You despair at the mess, at the narrative and structural chaos; and yet you delight in the director's sheer infectious energy.
    • 66 Metascore
    • 63 Rick Groen
    The film version, competently directed by Clint Eastwood and beautifully acted by Meryl Streep, isn't about to mess with a popular formula - this is a straight-up adaptation as faithful as a fawning spouse.
    • 72 Metascore
    • 63 Rick Groen
    If the cinematography lacks the up-close-and-personal drama of "Blue Crush," it's still adequate to the occasion -- after all, like any star worth her salt, the ocean has yet to meet a camera she doesn't like.
    • 56 Metascore
    • 63 Rick Groen
    CQ
    CQ has a modicum of IQ and a dash of style -- the jury's still out on the extent of the inheritance, but the kid clearly learned something at his pater'sknee.
    • 49 Metascore
    • 63 Rick Groen
    Silent House is a bundle of horror-flick tropes yoked together like a package deal.
    • 31 Metascore
    • 50 Rick Groen
    This isn't a movie so much as a marketing strategy -- a moving poster loosely disguised as a motion picture.
    • 47 Metascore
    • 50 Rick Groen
    Both more and less of the same -- more of that hot-pink couture, a whole lot more of that diminutive doggie, less reason to laugh even if you're a tank-topped 16-year-old.
    • 71 Metascore
    • 50 Rick Groen
    The result is infotainment dressed up as an art flick. Turkish society is fascinatingly complex and its East/West tensions give rise not to easy allegories but to hard ambiguities. To explore that truth, read any novel by Orhan Pamuk. To escape it, watch Bliss.
    • 72 Metascore
    • 50 Rick Groen
    Should be a brilliant picture, one last testament to the intertwined sensibilities of two brave artists. Should be, but isn't.
    • 51 Metascore
    • 50 Rick Groen
    As flicks go, She's All That ain't very much. But as high-school flicks go, this thing is a trite classic. [29 Jan 1999, p.C3]
    • The Globe and Mail (Toronto)
    • 43 Metascore
    • 50 Rick Groen
    Mainly bad, and a shockingly bland departure from a hitherto spunky guy.
    • 79 Metascore
    • 50 Rick Groen
    Altman shakes the camera like a two-bit horror director, and it seems a different sort of signature - less masterful than weary, less signed than resigned. Zero-sum, indeed.
    • 57 Metascore
    • 50 Rick Groen
    If you like your sentimentality sweet and sticky, then The Secret Life of Bees is definitely your jar of honey.
    • 59 Metascore
    • 50 Rick Groen
    Okay, some of this is mildly diverting.
    • 70 Metascore
    • 50 Rick Groen
    If you like your archetypes writ large and your sentiment over easy, then Unstrung Heroes is the flick for you. [15 Sep 1995]
    • The Globe and Mail (Toronto)
    • 49 Metascore
    • 50 Rick Groen
    Guess who sings tired old tune.
    • 86 Metascore
    • 50 Rick Groen
    Cholodenko casts much better than she writes. Yet, alas, even a talented veteran like Moore can't sell a hoary line like, "Sometimes you hurt the ones you love the most." Maybe if she'd set it to music – nope, sorry, that's already been done.
    • 43 Metascore
    • 50 Rick Groen
    With no previous acting experience, she's (Stilley) a natural between the sheets but a rank amateur between the vowels.
    • 61 Metascore
    • 50 Rick Groen
    Where's 007 when you need him? Neither shaken nor stirred, The Good Shepherd is a flat draft of history that looks at the Central Intelligence Agency's early years through the horn-rimmed gaze of a fictional spook.
    • 43 Metascore
    • 50 Rick Groen
    Biggs, in particular, seems positively frozen by his imitative efforts -- less Woody than wooden. Ricci is a bit looser, and has the added advantage of hiding behind those saucer-eyes.
    • 58 Metascore
    • 50 Rick Groen
    Ocean's Twelve lacks the courage of its star-driven convictions. Next time, Steven and George and Brad and Matt should ditch the hypocrisy and just shoot themselves shooting the breeze, poking fun at each other from within the smug sanctuary of their precious celebrity.
    • 46 Metascore
    • 50 Rick Groen
    Brooks knew how to engineer a well-crafted script. Yet on the evidence here – a stuttering two-hour outing bereft of any rhythm, a bunch of scenes in search of a movie – he's apparently forgotten.
    • 47 Metascore
    • 50 Rick Groen
    As in so many essentially childish movies, it's an actual child who's always the smartest pants in the room.
    • 31 Metascore
    • 50 Rick Groen
    [Walken's] every minute on screen is filled with that level of jittery invention, and, watching him at play, not even the flintiest temper could resist a wide grin. Envy can surely be a trial, but Saint Christopher is there to ease our troubled journey and see us smilingly home.
    • 82 Metascore
    • 50 Rick Groen
    The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
    • 41 Metascore
    • 50 Rick Groen
    The original was shot in 3-D; this, by contrast, is 1-D all the way.
    • 69 Metascore
    • 50 Rick Groen
    The film itself struggles to do justice to each victim. Turns out three stories are two too many. The Company Men should have been downsized.
    • 58 Metascore
    • 50 Rick Groen
    If the facts of the story are essentially true, their presentation is as formulaic as ever.
    • 44 Metascore
    • 50 Rick Groen
    This is the kind of picture that is faux subtle when it should be bold, and really ham-handed when it should be delicate.
    • 34 Metascore
    • 50 Rick Groen
    With no help from the dialogue, Kidman doesn't have a clue how to make clueless interesting. Not for lack of trying. Her efforts, which often consist of channelling Elizabeth Montgomery by way of Marilyn Monroe, are painful but insistent.
    • 30 Metascore
    • 50 Rick Groen
    A layabout movie -- not risibly bad, just relentlessly sub-par.
    • 51 Metascore
    • 50 Rick Groen
    No matter how you judge it -- as a strict morality play or simply a psychological thriller -- Apt Pupil just doesn't make the grade.
    • 60 Metascore
    • 50 Rick Groen
    Sometimes, a strong premise makes for a weak movie, which ends up drowning in its own clever conceit.
    • 74 Metascore
    • 50 Rick Groen
    Under better circumstances, Cooper might be said to have stolen the picture outright. But as it is, and compelling as he is, there's just nothing here to steal.
    • 74 Metascore
    • 50 Rick Groen
    The emotional geometry is familiar enough to be credible yet odd enough to be creepy.
    • 60 Metascore
    • 50 Rick Groen
    Since "To pay or not to pay" is banal, the plot takes the popular path of excess to a brain-boggling twist (to be specific would be to ruin what fun there is), then spirals off in a series of ever more unlikely gyrations, until a heretofore decent picture has gone completely south into fantasy-land.
    • 45 Metascore
    • 50 Rick Groen
    The Distinguished Gentleman isn't - distinguished, that is - but it's a notable cut above Eddie Murphy's recent ventures. [04 Dec 1992]
    • The Globe and Mail (Toronto)
    • 51 Metascore
    • 50 Rick Groen
    Wants keenly to be hip and modern, but really it's just an old-fashioned drawing-room comedy.
    • 52 Metascore
    • 50 Rick Groen
    David Lynch's eye-popping imagery is buried under an avalanche of self-indulgence.
    • 44 Metascore
    • 50 Rick Groen
    As an actor, Kirk Douglas still has more to give; too bad he didn't have more to work with.
    • 33 Metascore
    • 50 Rick Groen
    Joe Pytka does display an occasional nice touch with mood and atmosphere - at its infrequent best, the humor here is almost wry. But his editing is as jumpy as a mare in heat. [19 Aug 1989]
    • The Globe and Mail (Toronto)
    • 61 Metascore
    • 50 Rick Groen
    A movie about con artists that turns out to be a con job, and guess who's getting played for a sucker?
    • 30 Metascore
    • 50 Rick Groen
    Somewhere, back in the mists of time, co-writers Eric Bress and J. Mackye Gruber must have flapped their gums in the fond hope of crafting a script; today, that whisper of hot air has swollen into a feature flick that rains down upon us a veritable torrent of inane plot.
    • 68 Metascore
    • 50 Rick Groen
    The climax, a 20-minute dramatization of the crucial contest, lacks both suspense and poetry -- essentially, we're left to watch a clumsy recreation of a game whose outcome we already know. That's a sort of resurrection, I suppose, but miraculous it assuredly ain't.
    • 71 Metascore
    • 50 Rick Groen
    This is a film that dearly wants to be important, that wants to do for Holland what Irene Nemirovsky's "Suite Française" does for France - examine the German occupation through a prism of painful honesty. Yet the lofty ambition comes dressed in cheap attire; Verhoeven can't seem to stop himself from shopping downmarket.
    • 64 Metascore
    • 50 Rick Groen
    Those Hollywood tricksters have managed to shorten the story while slowing the pace -- all of a sudden, minutes are passing like hours.
    • 67 Metascore
    • 50 Rick Groen
    In the Scotland of Young Adam, love is getting dragged through the mud.
    • 42 Metascore
    • 50 Rick Groen
    As the title loudly hints, ultimate victory assumes the flawless shape of the star pitcher’s perfect game, a rarity anywhere yet especially at the Little League level. In getting to that climax, the recreated game action is a bit tepid and the child actors too precociously cute, but the true tale in the midst of the fabrication remains a guaranteed heart-warmer.
    • 40 Metascore
    • 50 Rick Groen
    The whole picture plays like a pop-up book in a welfare agency.
    • 79 Metascore
    • 50 Rick Groen
    Beneath the polished surface, Dead Poets Society is moribund at the core - too pat, too safe and too hypocritical, as conformist as the conformity it so easily decries.
    • 47 Metascore
    • 50 Rick Groen
    Pretty routine, pretty forgettable. Don't know how else to say this, so best to be frank: I'm just not that into He's Just Not That Into You.
    • 68 Metascore
    • 50 Rick Groen
    The result is nothing if not a curiosity piece.
    • 52 Metascore
    • 50 Rick Groen
    We also know the last time Keanu and Sandra shared the screen together. That was yesterday and Speed. This is today and Snail. I'm not betting on a tomorrow.
    • 69 Metascore
    • 50 Rick Groen
    This is a fairly well-made picture that's just been fairly well-made too many times before, a knock-off of a thousand other knock-offs.
    • 60 Metascore
    • 50 Rick Groen
    Notorious isn't, not even remotely.
    • 58 Metascore
    • 50 Rick Groen
    Only an actor of Moore's calibre could begin to add a bit of credible flesh to these hallowed bones.
    • 45 Metascore
    • 50 Rick Groen
    Just a mediocre action franchise with a solid actor at the head and a travelogue in its heart.
    • 58 Metascore
    • 50 Rick Groen
    In its defence, the movie means to incorporate Jet's conversion into its theme, serving up his new pacifism as a choice morsel of irony. But it doesn't taste ironic, just bland, and we aren't biting either.
    • 45 Metascore
    • 50 Rick Groen
    Hard-working to a fault, this is a movie that's all effort and no direction, a movie completely lacking in what its hero eventually finds -- a sense of identity.
    • 69 Metascore
    • 50 Rick Groen
    Your basic and basically predictable by-the-numbers picture.
    • 63 Metascore
    • 50 Rick Groen
    Coming from a major director like Spike Lee, this is a colossal disappointment. And a surprising one.
    • 27 Metascore
    • 50 Rick Groen
    For all its current political incorrectness, the original film at least attacked hypocrisy; this one practises it.
    • 34 Metascore
    • 50 Rick Groen
    Certainty, then, is the watchword, and you can be certain of three things: There will be plenty of juvenile energy to power the vehicle; there will be a few mild chuckles en route; there will be no reason to remember the ride the instant it ends.
    • 41 Metascore
    • 50 Rick Groen
    Stay is all dressed up with no place to go, an eye-popping exercise in lavish style unattached to any discernible content.
    • 41 Metascore
    • 50 Rick Groen
    So, fans, gear up for rock-em-sock-em action, yet don’t be disappointed if much of the goonery seems a bit tepid and, dare I say, staged.
    • 58 Metascore
    • 50 Rick Groen
    Park is busy treating every frame like a runway model, dressing it up in self-conscious layers of cinematic haute couture. It’s gorgeous to gaze upon but otherwise dessicated – listless, juiceless and ultimately pointless. For all his exemplary camera work, there’s no motion, or emotion, in the picture.
    • 49 Metascore
    • 50 Rick Groen
    Damned if this sugary confection doesn't come with a creepy crust. the odd sense that these aging boomers, ever eager to stall the march of time, are competing with their own daughter in the maternity sweepstakes - I'll see your child, and raise you one. [8 Dec 1995, p.C1]
    • The Globe and Mail (Toronto)
    • 84 Metascore
    • 50 Rick Groen
    The problem is not that the director is working but that his latest film is working too hard. Way too hard – this thing is melodrama running a marathon.
    • 49 Metascore
    • 50 Rick Groen
    Washington's take on the seductress is so saucy, so unapologetic, such a brash blend of insouciant charm and raw sex appeal, that she swipes the picture from right under its nominal star. The only problem is that her theft inadvertently tips the balance of the moral dilemma, shifting it seismically all the way from "He'd be a fool to succumb" to "He'd be a coward not to."
    • 45 Metascore
    • 50 Rick Groen
    A splatter of scenes that relocate the funny-bone in the lower anatomical regions -- sometimes hitting the mark, occasionally a glancing blow, often missing completely.
    • 55 Metascore
    • 50 Rick Groen
    It’s been not so much remade as restrained – tamed and dumbed-down and with any sharp political edges safely filed off.
    • 46 Metascore
    • 50 Rick Groen
    More than merely stale and dated, Hollywood Ending seems lazy and careless -- the structure is loose to the point of crumbling.
    • 58 Metascore
    • 50 Rick Groen
    In its component parts, then, Love Liza is essentially a battle between opposing clichés.
    • 63 Metascore
    • 50 Rick Groen
    If you're looking for a screwball comedy about bipolar disorder -- and who among us is not? -- then this picture fits the bill fine. However, if you're picky enough to want a good screwball comedy about bipolar disorder, well, I'm afraid the wait continues.
    • 42 Metascore
    • 50 Rick Groen
    Director Rob Reiner is betting that their star power alone will blind us to the holes in this cheesecloth of a script. It proves a fool's bet – no star shines that brightly.
    • 65 Metascore
    • 50 Rick Groen
    Conducting another symphony in action, Spielberg seems a bit bored – always competent but never inspired – and who can really blame him? He tries to fire his interest by swiping a few tropes from the fifties pop bin, not-so-sly allusions to teen-trash movies and those McCarthy-era horror flicks. After that, there's really nowhere to go but inwards, which is when Spielberg starts looting Spielberg.
    • 50 Metascore
    • 50 Rick Groen
    In what's meant to be a French take on "The Big Chill" - comedy meets pathos as friends gather at a country house in the wake of a tragedy - writer-director Guillaume Canet has wrought a meandering script that exercises everything except restraint.
    • 54 Metascore
    • 50 Rick Groen
    Speaking of funny things, director Todd Phillips has been down this path before in "Road Trip." There, toiling in the same lame genre, he actually showed a hint of comic ingenuity. Here, the hint has dwindled to a hoarse whisper.
    • 37 Metascore
    • 50 Rick Groen
    To her credit, Nadda is a solid actors’ director – the performances here are competent even when the writing isn’t. The exception is South Africa which, although a logistically necessary shooting location, ain’t much of a thespian.
    • 70 Metascore
    • 50 Rick Groen
    This is a flick whose failures are at least as interesting as the successes.
    • 83 Metascore
    • 50 Rick Groen
    Without warning, the picture falls hard into the very trap it had so studiously avoided, the one marked Expensive Gimmick... The same feature that begins like no film you've ever seen ends like every cartoon you've always avoided.
    • 42 Metascore
    • 50 Rick Groen
    To wit, stick that camera down an aquatic cave, wrap a paper-thin plot around it, slap the whole thing up on an IMAX screen and call it a movie. More truth in advertising: Call it a lame movie.
    • 49 Metascore
    • 50 Rick Groen
    Approximate time spent laughing: 30 seconds or fewer.
    • 30 Metascore
    • 50 Rick Groen
    Like a tone-deaf singer at a benefit concert, John Q. is a bad movie appearing on behalf of a good cause.
    • 40 Metascore
    • 50 Rick Groen
    Friedkin has huffed and puffed and blown up a single chase sequence into the whole damn movie. You got your hunted, you got your hunter, and away they go. And go and go.
    • 65 Metascore
    • 50 Rick Groen
    The tale is about meeting Death and comes with this moral: When The End arrives, better to embrace it with love than to try to cheat it with avarice. Hey, if nothing else, Part 1 has got some nerve, so greedily refusing to practice what it earnestly preaches.
    • 71 Metascore
    • 50 Rick Groen
    The Good Girl isn't really the title of this movie at all. Instead, it's now widely known as The Movie That Proves Jennifer Can Act.
    • 48 Metascore
    • 50 Rick Groen
    21
    What a big cheat of a movie. Wanting to be everything to everybody – a tough gambling picture, a revenge-of-the-nerds fantasy, a Vegas caper flick, a sweet little romance, a simple morality tale – 21 is just a bet-hedger dealing from multiple decks, designed to leave you with an occasional tidbit to like but nothing at all to love.
    • 57 Metascore
    • 50 Rick Groen
    Credit Madagascar with negotiating a hopeful truce in the ongoing battle between the computer and the animation. Judged merely by appearances, its look is a lovely compromise. Too bad everything else has been compromised right out of existence.
    • 45 Metascore
    • 50 Rick Groen
    Although possessed of a laudable desire not to be yet another run-of-the-mill, wacky-impediment, I'm-nobody-and-you're-the-Prez's-daughter romance comedy, damned if the picture can figure out how to be an anti-romance comedy.
    • 66 Metascore
    • 50 Rick Groen
    It's refreshing to have a movie assume that its viewers are also readers, yet this one takes that assumption to testing lengths. To those fearful of flunking the test, my advice is simple: Bring along the book as your cheat-sheet.
    • 69 Metascore
    • 50 Rick Groen
    It's odd, how these high-concept films, knowing that the central gimmick has a way of wearing out its welcome, are all so short – a mere 84 minutes in this case. Why odd? Because short always ends up feeling so damn long. This is no exception. Quick to start and painfully slow to finish, Chronicle is the same old chronicle.
    • 57 Metascore
    • 50 Rick Groen
    Alas, the news is mixed: Thor ain't much of a movie but it's a great career move. Both movie and move belong to director Kenneth Branagh.
    • 31 Metascore
    • 50 Rick Groen
    The only surprise here is the real star of the show, who turns out to be not Halle Berry, not even Bruce Willis, but a flat computer screen in all its hard-driven glory.
    • 53 Metascore
    • 50 Rick Groen
    Alas, in the third instalment of the C.S. Lewis odyssey, the devolution continues with the inexorability of a fairy tale thrust in reverse – the sublime first film morphed into the routine second and now this wispy banality.
    • 51 Metascore
    • 50 Rick Groen
    From that title on down, White Irish Drinkers is a compendium of clichés struggling to upgrade its status and become a respectable archetype.
    • 55 Metascore
    • 50 Rick Groen
    Nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows.
    • 41 Metascore
    • 50 Rick Groen
    The pocketing of tired bills headed for the shredder, the producing of tired movies headed for the theatre -- it's all just recycling.
    • 48 Metascore
    • 50 Rick Groen
    Pearce pumps a surprising amount of levity into his one-liners – sure, it's still hot air, but at least the banter comes fully inflated.
    • 63 Metascore
    • 50 Rick Groen
    No one can dismiss 16 Blocks as a mere formula flick -- it's a mere two or three formula flicks all fighting for top billing.
    • 65 Metascore
    • 50 Rick Groen
    Here's one thing about Marie Antoinette: It sure is easy to watch. And here's another: It's even easier to forget.
    • 36 Metascore
    • 50 Rick Groen
    It's better than 2, but not nearly as good as 1. On the slippery slope of sequel-land, that's an okay average. [15 May 1992]
    • The Globe and Mail (Toronto)
    • 47 Metascore
    • 50 Rick Groen
    If you have an appetite for well-made treacle, then Bella should go down a treat.
    • 56 Metascore
    • 50 Rick Groen
    All costume and scant drama, the result is a curiously flat spectacle, neither offensive nor compelling.
    • 60 Metascore
    • 50 Rick Groen
    The ensemble is unwieldy and the attendant yarn much too cluttered.
    • 49 Metascore
    • 50 Rick Groen
    Film noir is a style, but self-conscious film noir is just a stylistic tic, less a genre than an ailment. And The Black Dahlia has got a really bad case -- this thing is so mannered it convulses.
    • 48 Metascore
    • 50 Rick Groen
    The fiction that follows can be safely regarded as much more than a war movie -- hell, this is a pro-war movie. Were it a politician, it would be Donald Rumsfeld.
    • 44 Metascore
    • 50 Rick Groen
    Trading in his thinker's cap for a craftsman's apron, Lee is content to carve a little something out of nothing much - the result is as dismissible as it is diverting. [Apr 12, 1996. pg. C.2]
    • The Globe and Mail (Toronto)
    • 66 Metascore
    • 50 Rick Groen
    These characters don't seem illuminating at all – just damned annoying and, ultimately, dead boring.
    • 40 Metascore
    • 50 Rick Groen
    A recruitment poster loosely disguised as a movie.
    • 50 Metascore
    • 50 Rick Groen
    What might have been delicious trash lacks the courage of its trashy convictions, and the result is high-born melodrama with the juice boiled out, so much dry cabbage on fine-china plate.
    • 62 Metascore
    • 50 Rick Groen
    Lives down to its title -- what an odd and gauzy reverie this is, a strangely muted picture that unfolds at a distinct remove from the reality around it.
    • 49 Metascore
    • 50 Rick Groen
    When it comes to retelling the tale of Tristan and Isolde, give us a movie that makes love. Or even a movie that makes war. Anything, just anything, but a movie that makes nice.
    • 59 Metascore
    • 50 Rick Groen
    More Than a Game is less than a movie.
    • 48 Metascore
    • 50 Rick Groen
    This movie wants to be a horse but, even measured in box-office millions, it's just another nag.
    • 49 Metascore
    • 50 Rick Groen
    This thing can take pride of place in a long tradition of Hollywood howlers.
    • 61 Metascore
    • 50 Rick Groen
    Although the subject, school bullying, is as fresh as today's headlines, the treatment isn't. Despite the efforts of an impressive cast, the film starts out stale and then just gets tedious.
    • 71 Metascore
    • 50 Rick Groen
    Tropic Thunder is an assault in the guise of a comedy – watching it is like getting mugged by a clown.
    • 56 Metascore
    • 50 Rick Groen
    Director Walter Salles, who knows a thing or two about picaresque journeys – in "The MotorcycleDiaries," even in "Central Station" – does make an honest effort here.
    • 60 Metascore
    • 50 Rick Groen
    Sorry, this one doesn't really work at all, but don't blame the workers.
    • 61 Metascore
    • 50 Rick Groen
    Reign Over Me drizzles down on us for two full hours, persistently determined to prove that, if it hangs around long enough, a coherent movie will turn up. No such luck.
    • 59 Metascore
    • 50 Rick Groen
    Saddled with this hollow script, Stone pads with elaborate set pieces.
    • 64 Metascore
    • 50 Rick Groen
    At his best, Clint directed as he acted -- sparely, laconically, but concisely, with a clean precision. There are flashes of that trademark style early on, but it soon degenerates badly.
    • 65 Metascore
    • 50 Rick Groen
    Nothing in this explicit display is remotely engaging. That's because the sex is a metaphor here. In fact, most everything is a metaphor here. Or a symbol -- the picture is a veritable cacophony of jangling symbols.
    • 41 Metascore
    • 50 Rick Groen
    Next semester, the stars should drop Speech 217 and enroll in Chemistry 101 – they dearly need some.
    • 63 Metascore
    • 50 Rick Groen
    The movie blows, me hearties, but don't you dare miss it...Why? Johnny Depp, that's why...This has gotta rank among the weirdest performances in the zany annals of the silver screen.
    • 39 Metascore
    • 50 Rick Groen
    Arthur and the Invisibles may be a tale for children, but it's got the bad habits of a profligate adult -- the thing borrows shamelessly from its betters and then pretends to be self-sustaining.
    • 68 Metascore
    • 50 Rick Groen
    Although the entire film is beautifully framed and shot, especially the surreal sequences, precious little coheres into anything resembling a compelling narrative.
    • 53 Metascore
    • 50 Rick Groen
    Soul Surfer is a true story that plays like bad fiction.
    • 66 Metascore
    • 50 Rick Groen
    On the byways of any bustling metropolis, here is what the combination of bicycles + cars + pedestrians is certain to produce: (1) nasty accidents and (2) ferocious debates. More surprisingly, on the silver screen in Premium Rush, here is what the same combination fails to produce: a good action movie.
    • 68 Metascore
    • 50 Rick Groen
    For a film meant to float on a gossamer veil of mystery, The Illusionist falls -- make that flops -- with quite the heavy thud. It's an intended piece of magic that plays like a ponderous slab of melodrama, sleight of hand gone ham-handed.
    • 64 Metascore
    • 50 Rick Groen
    Jack Goes Boating barely stays afloat – it's a deep disappointment.
    • 39 Metascore
    • 50 Rick Groen
    Bursting with potential that never gets realized.
    • 58 Metascore
    • 50 Rick Groen
    Isn't unequivocally bad. Rather, this is what's known in the boxing world as an "opponent" -- shows up on the weekend just to fill out the card, to do battle with its betters, earn a little cash and be completely forgotten come Monday morning.
    • 53 Metascore
    • 50 Rick Groen
    By happy coincidence, their names – Bitey, Loudy, Stinky, Lovey and Nimrod – pretty much double as a plot summary.
    • 73 Metascore
    • 50 Rick Groen
    It's a slacker flick, it's a relationship pic, it's a road movie all under the same hood.
    • 37 Metascore
    • 50 Rick Groen
    Winnie begins as hagiography and ends in hellish confusion.
    • 36 Metascore
    • 50 Rick Groen
    In pairing the two icons, Righteous Kill is definitely an event. What it isn't is much of a movie. Such a waste.
    • 70 Metascore
    • 50 Rick Groen
    A Mexican feature from writer/director Guillermo Del Toro, it's a modern vampire tale that occasionally rises to the level of competence but never inches any higher. [20 May 1994]
    • The Globe and Mail (Toronto)
    • 46 Metascore
    • 50 Rick Groen
    In every way but one, this is just another genre pic on another mundane outing.
    • 62 Metascore
    • 50 Rick Groen
    The whole project labours towards an importance it never earns. In Beautiful Boy, the themes are vast but the picture is small, and the ensuing emptiness is what the characters are meant to feel – not us.
    • 52 Metascore
    • 50 Rick Groen
    The result is a minor picture with a major identity crisis -- it's sort of true and it's sort of bogus and it's ho-hum all the way through.
    • 70 Metascore
    • 50 Rick Groen
    The Hoax is a fraud, and not a very good one at that. Stay with me here because we're about to spiral down the rabbit hole: The movie is a fictionalized account of writer Clifford Irving's fictionalized account of his own fictionalized account of wacky billionaire Howard Hughes.
    • 54 Metascore
    • 50 Rick Groen
    Let's just say that, when the parody looks indistinguishable from the parodied, something's gone awry.
    • 54 Metascore
    • 50 Rick Groen
    If you're a five-year-old, or the mental equivalent thereof, and love Saturday morning cartoons, the more violent the better, then Mouse Hunt may just be the movie for you.

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