For 525 reviews, this critic has graded:
  • 42% higher than the average critic
  • 1% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Rita Kempley's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Silence of the Lambs
Lowest review score: 0 Boxing Helena
Score distribution:
525 movie reviews
    • 50 Metascore
    • 40 Rita Kempley
    With 10 writers gnawing on it, there is little originality left in the story.
    • 24 Metascore
    • 40 Rita Kempley
    Under the direction of "Die Harder's" Renny Harlin, the movie has a crackling pace and a glossy look. It's all the more pernicious for that, this slick glorification of hate and loathing that portrays women as sexually promiscuous and men as infantile, violent and feeble-minded. Here's one Ford that doesn't have a better idea.
    • 43 Metascore
    • 40 Rita Kempley
    Benefits from affecting performances from a gifted cast headed by R&B heartthrob Usher Raymond.
    • 54 Metascore
    • 40 Rita Kempley
    And while it's intermittently engaging, the drama's flatter than a sucker's wallet.
    • 55 Metascore
    • 40 Rita Kempley
    While disaster yarns aren't known for subtlety, there are limits, and Volcano giddily goes beyond them.
    • 74 Metascore
    • 40 Rita Kempley
    Tucker came up with a classic, but poor Coppola has turned a great American tragedy into a gas-guzzling human comedy
    • 67 Metascore
    • 40 Rita Kempley
    Heckerling lacks the intuition to let things flow. The actors seem rushed and the scenes incomplete. For instance, Stacy and her brother Brad (Reinhold) almost build a poignant scene outside the abortion clinic. Just when they're about to show us their stuff, poof, it's off for a car crash or a football game. [13 Aug 1982]
    • Washington Post
    • 51 Metascore
    • 40 Rita Kempley
    The movie is a little crude for the subtlety of the emotions it plays with.
    • 79 Metascore
    • 40 Rita Kempley
    Breaks no new ground.
    • 62 Metascore
    • 40 Rita Kempley
    For a while, the film is screamingly funny, but the further it goes, the more muddled the narrative becomes.
    • 57 Metascore
    • 40 Rita Kempley
    Kansas City is basically a head-scratcher.
    • 65 Metascore
    • 40 Rita Kempley
    A brain-cramping and eye-straining experiment in digital filmmaking.
    • 76 Metascore
    • 40 Rita Kempley
    Unfortunately, the story isn't inventive and Newell's methodical approach to it verges on monotony.
    • 54 Metascore
    • 40 Rita Kempley
    A dumb guy comedy about dumb guys by dumb guys and for dumb guys.
    • 39 Metascore
    • 40 Rita Kempley
    The audience hasn't the slightest idea what is going on.
    • 64 Metascore
    • 40 Rita Kempley
    Although the newly paunchy Stallone is credible as a weak, conflicted small-time sheriff, this suburban "Serpico" is a noble, passionless charade.
    • 62 Metascore
    • 40 Rita Kempley
    Its splendor cannot be denied, but then again neither can the emptiness of this Henry James adaptation.
    • 35 Metascore
    • 40 Rita Kempley
    Ricki Lake makes an appealing, though unlikely, fairy tale heroine in the derivative romance Mrs. Winterbourne: If only this stale trifle didn't call for the bewitching or pixilating, for the abracadabra of a Bullock or a Pfeiffer. For a Cinderella story, it's sorely without magic.
    • 45 Metascore
    • 40 Rita Kempley
    Alien Nation wants to be "In the Heat of the Night" as science fiction, but it's neither morally instructive nor prophetic. It proves a lumbering marriage of action and sci-fi that alienates both audiences. It's too dull for one and too dumb for the other.
    • 43 Metascore
    • 40 Rita Kempley
    Robert Redford does everything but wear a crown of thorns as the selfless war hero of The Last Castle, a heavy-handed military prison melodrama.
    • 68 Metascore
    • 40 Rita Kempley
    Twister not only blows, it sucks, too.
    • 48 Metascore
    • 40 Rita Kempley
    The Three Musketeers, a rusty trio of middle-aged retirees, have all but changed their motto from "All for one and one for all" to "I have fallen and I can't get up" in this less-than-rollicking adaptation.

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