For 1,309 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 1 point lower than other critics. (0-100 point scale)

Rick Groen's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Merchant of Venice
Lowest review score: 0 Godzilla
Score distribution:
1309 movie reviews
    • 43 Metascore
    • 50 Rick Groen
    Pardon my pulling anthropological rank, but Instinct -- a movie about an ape-man savant -- seems a quart low on common sense.
    • 60 Metascore
    • 50 Rick Groen
    What we have here is a pretty good TV show huffed and puffed into a rather mediocre film.
    • 70 Metascore
    • 50 Rick Groen
    Perhaps for Zwigoff, directing someone else's script, this was just a job of work. If not, the talent who made "Crumb" and "Ghost World "has now made his first movie mistake.
    • 61 Metascore
    • 50 Rick Groen
    It's like an elevated form of sitcom acting, which may be inevitable because this movie, and all its quirky/heartfelt kin, are an elevated version of the sitcom itself.
    • 47 Metascore
    • 50 Rick Groen
    A feature that suffers from the rarity of its wit yet benefits from the briskness of its pace.
    • 71 Metascore
    • 50 Rick Groen
    Watching this, we should feel an immense amount, but don't, and somehow, decades after this horrible event, that void only seems to compound the tragedy.
    • 30 Metascore
    • 50 Rick Groen
    But Keaton is a mistake. He's an actor with an innate sense of irony firmly grounded in the here and now. Even as Batman, skepticism was his forte; true belief falls way outside his range.
    • 46 Metascore
    • 50 Rick Groen
    Vanity: the surest road to mediocrity.
    • 69 Metascore
    • 50 Rick Groen
    It's a comedy, it's a romance, it's a gangster flick. The Cooler is all of that and much, much less. This is a movie without a compass, switching pace and direction as haphazardly as a caffeinated SUV driver on a cellphone.
    • 53 Metascore
    • 50 Rick Groen
    The Notebook is meant to be a romantic weepy, and you will shed tears - but only from the consistent and exhausting effort of trying to control your gag reflex. Even a body that welcomes a sugar fix will repel a sugar invasion.
    • 51 Metascore
    • 50 Rick Groen
    Of course, the result is forgettable, but at least it's efficiently and breezily forgettable. What's more, there are laughs too and here's the best part – one or two of them are actually intentional.
    • 49 Metascore
    • 50 Rick Groen
    If this is satire, it's the smug and self-congratulatory kind that lets the audience completely off the hook. Effective satire, the Swiftian brand, seduces us first and then implicates us in the seduction -- we become a target too. But this stuff never gets past the initial step -- it's toothless, as innocuous as the puffery it pretends to skewer.
    • 63 Metascore
    • 50 Rick Groen
    Was it worth slogging through the nearly two hours of damned muddle to get to those last affecting moments? Not often in movies is the destination so much better than the journey.
    • 64 Metascore
    • 50 Rick Groen
    Identity opens with its mind nicely intact, suffers a major crisis about 30 minutes in, then bad turns to worse.
    • 56 Metascore
    • 50 Rick Groen
    Max
    The whole film occupies pretty much the same continuuum -- glimmers of intelligence followed by moments of outright hysteria punctuated by bouts of sheer haplessness.
    • 62 Metascore
    • 50 Rick Groen
    Although director Taylor Hackford ("An Officer and a Gentleman") handles the usually cumbersome flashbacks with impressive delicacy, he can't stop the narrative from sinking under its own melodramatic weight.
    • 37 Metascore
    • 50 Rick Groen
    Dirty Girl isn't. Sorry, but it's just faux grime, a thin layer of bad behaviour that wipes clean with a two-ply tissue to reveal the real movie beneath – all shiny sentimentality.
    • 35 Metascore
    • 50 Rick Groen
    Here, one begins to suspect that the major impediment is the sensibility of the filmmakers themselves. They don't believe in this stuff, in its unavoidable sentimentality, and that attitude filters down to a perplexed cast.
    • 49 Metascore
    • 50 Rick Groen
    A contrived and tepid thriller that insists on wanting to interest us in its main plot -- the usual nefarious plan to assassinate the leader of the free world.
    • 37 Metascore
    • 50 Rick Groen
    Amelia is the Mack truck of flight. Heavy and lumbering, it delivers the goods, but there's not an ounce of magic in the thing.
    • 69 Metascore
    • 50 Rick Groen
    Expected too is the result: a kind of sterile opulence or, if you prefer, a magnificent emptiness.
    • 31 Metascore
    • 50 Rick Groen
    I doubt that Lawrence is conscious of this process. Nevertheless, stuck in a dull commercial feature, a very good actor happens upon a new solution to an age-old problem: She improves the script by transcending it, and steals the picture by abandoning it.
    • 47 Metascore
    • 50 Rick Groen
    All dull thunder without a spark of illumination.
    • 59 Metascore
    • 50 Rick Groen
    In keeping with the purloining spirit of sequeldom, Woo plunders his own past. [24 May 2000, p.R1]
    • The Globe and Mail (Toronto)
    • 41 Metascore
    • 50 Rick Groen
    Holy Man sure isn't raucous; instead, in the main, it's just quietly unamusing.
    • 77 Metascore
    • 50 Rick Groen
    The result is a political thriller refreshingly long on grown-up dialogue yet lamentably shy on, well, thrills. This chatty thing does go on.
    • 53 Metascore
    • 50 Rick Groen
    So we're back on "The Road ," but this time Eli's coming – better hide your heart and, while you're at it, put your brain on hold, the easier to enjoy the action-filled sermon to come.
    • 45 Metascore
    • 50 Rick Groen
    How's this for frightening: The casting of the lightweight Ben Affleck as a CIA agent who holds the fate of the entire world in his pretty-boy hands. Can't deny it, that got my heart pumping like a bunny.
    • 61 Metascore
    • 50 Rick Groen
    With the release of Stop-Loss, a precedent of sorts has definitely been set. If we've yet to see a brilliant Iraq movie, the wait is over for a bad one – this is it.
    • 43 Metascore
    • 50 Rick Groen
    At the end of these "based on a true story" flicks, it's customary to flash photos of the real people over the end credits. There, Sam Childers looks older and less handsome and awfully imposing, a scary sort of cat with raw but authentic tales to tell. I'd like to hear them.

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