For 518 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 points lower than other critics. (0-100 point scale)

Rita Kempley's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Miller's Crossing
Lowest review score: 0 See Spot Run
Score distribution:
518 movie reviews
    • 67 Metascore
    • 50 Rita Kempley
    A bittersweet duet convincingly, if unexcitingly, performed by Baye and Lopez.
    • 56 Metascore
    • 50 Rita Kempley
    Waterworld isn't "Fishtar," but Kevin Costner's pricey, post-apocalyptic sloshbuckler isn't a seafaring classic either.
    • 66 Metascore
    • 50 Rita Kempley
    Directing with an eye to "Rebecca," Branagh brings more mood than suspense to this apparent hommage to Hitchcock. Still, he raises no goose bumps.
    • 52 Metascore
    • 50 Rita Kempley
    The movie updates Disney's blueprint without altering it in any meaningful way.
    • 64 Metascore
    • 50 Rita Kempley
    Gattaca may be all done up in new-fangled notions, but underneath all the guff about designer babies, it rests on a notion that was a staple of the original "Star Trek" series.
    • 52 Metascore
    • 50 Rita Kempley
    Awkwardly acted.
    • 62 Metascore
    • 50 Rita Kempley
    Nicely acted, wonderfully scenic but emotionally vapid.
    • 43 Metascore
    • 50 Rita Kempley
    Meet Joe Black, with Brad Pitt, is a near-death experience: Time seems to stop as we stiffen in our seats and the actors all whisper as if they're at a wake.
    • 38 Metascore
    • 50 Rita Kempley
    Defiantly sophomoric, often hilarious and crude as all get-out.
    • 67 Metascore
    • 50 Rita Kempley
    Private Parts, lifted from Stern's best-selling autobiography, is a choppy amalgam of "Revenge of the Nerds," "Father Knows Best" and "Network."
    • 43 Metascore
    • 50 Rita Kempley
    A sloppily structured, snoozily paced psychodrama about living in harmony with nature and all the rest of that tree-hugging hooey.
    • 63 Metascore
    • 50 Rita Kempley
    Deceptively labeled a domestic epic by writer-director James Cameron, the $100 million movie is, in fact, a weird hybrid of action juggernaut, buddy cop caper and reactionary soft-core pornography.
    • 57 Metascore
    • 50 Rita Kempley
    It has more complex stunts, more technical perfection, and more than a touch of genius. It's fun at both ends. But it's also mean-spirited and corrupt at its core.
    • 61 Metascore
    • 50 Rita Kempley
    A sometimes inspired but sputtering parody of the fashion industry. It's desperate to please, yet never unzips the fancy pants of haute couture.
    • 56 Metascore
    • 50 Rita Kempley
    Mike Werb's screenplay -- just a rickety framework for Carrey's consummate clowning -- lacks a propelling plot and has zip in terms of secondary character development.
    • 51 Metascore
    • 50 Rita Kempley
    Uncle Buck is competent comedy, a bit simplistic, a bit stale, no gremlins, no gushiness, no surprises. A Hughes movie offers the kind of reliability you expect from major household appliances or a good set of radials.
    • 50 Metascore
    • 50 Rita Kempley
    Shaft? Not in this splashy-but-empty remake he isn't.
    • 70 Metascore
    • 50 Rita Kempley
    Doesn't pack the punch of Schrader and Scorsese's career-best collaborations ("Raging Bull," "Taxi Driver").
    • 47 Metascore
    • 50 Rita Kempley
    Gibson and the overexposed Hunt don't exactly burn up the screen, not that it much matters. The charm isn't in the relationship, it's in Gibson's puckish appeal.
    • 39 Metascore
    • 50 Rita Kempley
    Fans of Gere and Roberts may not care about the movie's many implausibilities and other shortcomings because the stars do indeed sparkle like the bubbles in wedding champagne. But the rest of us will find the vintage too sweet.
    • 50 Metascore
    • 50 Rita Kempley
    A coy seriocomedy distantly related to--but missing the sting of--"Kiss of the Spider Woman."
    • 51 Metascore
    • 50 Rita Kempley
    Wendy Wasserstein brings a dull pen to this literary adaptation, which shows none of the bite or savvy of Stephen McCauley's novel.
    • 48 Metascore
    • 50 Rita Kempley
    The Theory of Flight, an unlikely marriage of malady movie and romantic comedy, never quite soars, but beats its wings with the desperate tenacity of a wounded butterfly. Alas, the proportion of lift to drag isn't quite enough to defy the gravity of its subject.
    • Washington Post
    • 48 Metascore
    • 50 Rita Kempley
    Howard entices us into overlooking the film's faults with some genuinely amusing scenes, particularly those featuring Japanese-American Gedde Watanabe as a beleaguered Assan executive who doesn't fit the corporate mold. [14 Mar 1986, p.27]
    • Washington Post
    • 42 Metascore
    • 50 Rita Kempley
    A corkscrew of a thriller, has more twists than a tarantula with a permanent.
    • 62 Metascore
    • 50 Rita Kempley
    Linklater, who introduced the blithe, but bemused slacker subculture to America in 1991, gets bogged down not only in Bogosian's for-stage structure, but especially his middle-aged perspective.
    • 36 Metascore
    • 50 Rita Kempley
    Rusnak, who was the second-unit director of "Godzilla," brings plenty of style to this ambitious yet utterly anticlimactic thumb-sucker.
    • 53 Metascore
    • 50 Rita Kempley
    The topic certainly suits the times, but the director's approach is as alienating as it is old-fashioned.
    • 50 Metascore
    • 50 Rita Kempley
    Though he is a master thief with a heart of gold, the new Templar has all the charm of one of those ladies behind the counter at the Department of Motor Vehicles.
    • 66 Metascore
    • 50 Rita Kempley
    Oscar and Lucinda seems like the perfect story for director Gillian Armstrong, that of a free-spirited proto-feminist chafing at the strictures of tight-laced colonial Australia. But in the end, she's created a beautiful but annoying Victorian-era melodrama. [30Jan1998 Pg.D.06]
    • Washington Post

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