For 521 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 4.3 points lower than other critics. (0-100 point scale)

Rita Kempley's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Secrets & Lies
Lowest review score: 0 See Spot Run
Score distribution:
521 movie reviews
    • 66 Metascore
    • 60 Rita Kempley
    Most egregiously, the filmmakers set up a classic struggle between right and wrong and then, in a coy coda, refuse to take a stand.
    • 58 Metascore
    • 60 Rita Kempley
    Director John McTiernan, who redefined the action genre in the original "Die Hard," does devise some smashing explosions, crashes and so on, but nothing really new.
    • 55 Metascore
    • 60 Rita Kempley
    A flawed but funky adventure.
    • 56 Metascore
    • 60 Rita Kempley
    Douglas plays Gekko with a terrible intensity. He raves and rants, but he has a rascal's humor.
    • 72 Metascore
    • 60 Rita Kempley
    Pi
    In the end, it's primarily a brain teaser, obtuse and ultimately limited in its emotional impact.
    • 86 Metascore
    • 60 Rita Kempley
    Unlike Hollywood's hygienic undersea dramas, Das Boot graphically depicts the nasty intimacy of a long mission.
    • 41 Metascore
    • 60 Rita Kempley
    The Perrier of dumb-and-dumber movies, an effervescent idiot's delight that burbles from the wellspring of silliness inside star Adam Sandler's head.
    • 48 Metascore
    • 60 Rita Kempley
    Howard's film, like McConaughey's performance, is unassuming, ingratiating and a little rough around the edges.
    • 64 Metascore
    • 60 Rita Kempley
    A superbly heartfelt drama for six diverse actors, it is as colorfully striated as its majestic namesake - and almost as wide. The film's depth is another matter altogether.
    • 78 Metascore
    • 60 Rita Kempley
    Marvels of animation abound in Monsters, Inc. -- when it comes to irreverent humor and real heart, Monsters doesn't quite measure up.
    • Washington Post
    • 44 Metascore
    • 60 Rita Kempley
    An endearing comic roundelay about the can't-commits.
    • 58 Metascore
    • 60 Rita Kempley
    Like "Ghost" and "Pretty Woman," this romance is blissfully dependent on our staying good and starry-eyed, seduced by the charisma of the leads. And we do, despite its lackadaisical pace and disappointing ending.
    • 60 Metascore
    • 60 Rita Kempley
    The X-Files movie is really just a two-hour teaser for the series's sixth season. And little else. You will feel exactly like Mulder when he says, "How many times have we been right here before, Scully? So close to the truth?"
    • 51 Metascore
    • 60 Rita Kempley
    A raunchy parody that's hip-deep in the mainstream it aims to rip, and sometimes does despite a glut of smug inside jokes.
    • 58 Metascore
    • 60 Rita Kempley
    Pollack makes a solid job of it, as does Cruise. But solid isn't enough when it comes to thrillers -- or courtroom dramas, for that matter. Solid is great when it comes to office furniture.
    • 47 Metascore
    • 60 Rita Kempley
    A prosaic, sexually perverse thriller masquerading as a critical look at military injustice.
    • 41 Metascore
    • 60 Rita Kempley
    Tom Schulman's script is on the sloppy side and offers few surprises; still, it's not entirely bereft of laughs.
    • 93 Metascore
    • 60 Rita Kempley
    A ruthlessly unsentimental portrait of a German war profiteer's epiphany that inspires neither sorrow nor pity, but a kind of emotional numbness.
    • 66 Metascore
    • 60 Rita Kempley
    While this adaptation of Waller's treacly bodice-ripper leaves out a lot of the lurid excess, it is not altogether free of pomposity.
    • 52 Metascore
    • 60 Rita Kempley
    A spoofy paean to cheerfolk that has more bounce per flounce than most tales about teen queens.
    • 73 Metascore
    • 60 Rita Kempley
    Despite the quirky trappings, Something Wild is often as tame as its star couple.
    • 56 Metascore
    • 60 Rita Kempley
    Director Kevin Rodney Sullivan, a television veteran making his feature film debut, has fluffed up this undemanding material much as one would a pillow. But pillows have their place and so do girlfriend movies.
    • 56 Metascore
    • 60 Rita Kempley
    Behind the lens Murray has an uneven touch (or perhaps his co-director does), and "Quick Change" is given to slow moments and miscalculations. But in front of the camera, he is as wonderfully acerbic as ever, equal parts anger and hurt feelings as he grapples with the rot of the Apple, the roar of subway, the smell of the crowds.
    • 50 Metascore
    • 60 Rita Kempley
    Lillard, who played the squirrelly Stuart in "Scream," brings a mischievous sense of humor and an easygoing charm to his potentially unsympathetic character.
    • 32 Metascore
    • 60 Rita Kempley
    UHF
    Yankovic, an advocate of the Monty Python and Mel Brooks schools of comedy, favors yechy burlesque, and UHF, with its scant plot, is basically a variety show with skits, sight gags and gross stuff. "Weird" reminds us there's nothing quite like a good booger joke for pure entertainment.
    • 54 Metascore
    • 60 Rita Kempley
    Even the most ardent fans of the natural-born Bond are more apt to be shaken than stirred by the 68-year-old's implausible feats in this inert romantic adventure.
    • 48 Metascore
    • 60 Rita Kempley
    The story line is little more than a shiny hat for holding the high-tech rabbits. Still, it's an enjoyable bit of smoke and mirrors, thanks to the decency and resourcefulness of its hero.
    • 72 Metascore
    • 60 Rita Kempley
    Sorry, Antz has no show-stopping song and dance numbers, no catchy melodies and no love songs either. The score, made up of old standards, does, however, enhance one of the movie's wittier episodes.
    • 74 Metascore
    • 60 Rita Kempley
    Tim Burton remains the Wizard of Odd with this eye-filling if problematic confection.
    • 55 Metascore
    • 60 Rita Kempley
    Unfortunately, Harrer's inner struggle isn't as grand as the sweep of Jean-Jacques Annaud's direction.

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