For 399 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 2.4 points higher than other critics. (0-100 point scale)

Ruthe Stein's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Millions
Lowest review score: 0 Wild Hogs
Score distribution:
  1. Negative: 55 out of 399
399 movie reviews
    • 53 Metascore
    • 50 Ruthe Stein
    Becomes tiresome.
    • 73 Metascore
    • 50 Ruthe Stein
    Lacks what could kindly be called coherence.
    • 75 Metascore
    • 50 Ruthe Stein
    The least appealing of the trilogy.
    • 33 Metascore
    • 50 Ruthe Stein
    But the jury is still out on Romano's future in movies. Hackman blows him off the screen.
    • 73 Metascore
    • 50 Ruthe Stein
    Doesn't have much to say.
    • San Francisco Chronicle
    • 45 Metascore
    • 50 Ruthe Stein
    If you enjoy gross humor -- elevated by an occasional witty line -- and looking at babes, and don't mind a little blood and gore, do I have a date movie for you.
    • 65 Metascore
    • 50 Ruthe Stein
    It says something about this movie that Redford is at his most compelling playing opposite a nag.
    • 52 Metascore
    • 50 Ruthe Stein
    It's amusing in a trashy sort of way.
    • 44 Metascore
    • 50 Ruthe Stein
    A clever idea, but it's not quite pulled off.
    • 56 Metascore
    • 50 Ruthe Stein
    I'm not denying that a 40-year- old woman might be self-conscious about going around with someone this young. But the subject isn't interesting or provocative enough to sustain an entire movie.
    • 33 Metascore
    • 50 Ruthe Stein
    It lives up to its title, flying by in fast motion. Even the first-wave MTV generation may find the pace exhausting, but this piece of fluff wasn't made for them.
    • 38 Metascore
    • 50 Ruthe Stein
    Far from the worst cookie-cutter film to come off the Hollywood assembly line, merely the latest.
    • 64 Metascore
    • 50 Ruthe Stein
    Much about Living Out Loud is pretty far-fetched, but at least it accurately portrays the dating possibilities for newly divorced women of a certain age.
    • 45 Metascore
    • 50 Ruthe Stein
    Has to be one of the least charming French romances to find American distribution in recent years.
    • 39 Metascore
    • 50 Ruthe Stein
    Although the acting is uneven and the movie's dead spots make it feel far longer than its running time, the twist in Twist' is certainly clever.
    • 59 Metascore
    • 50 Ruthe Stein
    A sweet, bordering on saccharine, comedy.
    • 36 Metascore
    • 50 Ruthe Stein
    Well-intentioned but frequently inert.
    • 53 Metascore
    • 50 Ruthe Stein
    A mishmash of a musical. The movie never gels -- despite Kline's nuanced performance, the stars' exquisite period clothes, designed by Armani, and, of course, Porter's great songs.
    • 44 Metascore
    • 50 Ruthe Stein
    Another romantic comedy about a career woman who has everything except a man, is Jennifer Aniston's attempt to break out of her TV role. But she doesn't have the magic on the big screen to make us forget where she came from.
    • 45 Metascore
    • 50 Ruthe Stein
    Vanessa Redgrave makes a regal if too-brief appearance.
    • 60 Metascore
    • 50 Ruthe Stein
    Distressingly predictable and not a tad scary. But as a parody of the genre, it's a scream, like the "Scream'' franchise, only funnier. It's as if all the ingredients for a thriller coagulated into Silly Putty.
    • 39 Metascore
    • 50 Ruthe Stein
    Another art film that's more pretentious than it needs to be.
    • 47 Metascore
    • 50 Ruthe Stein
    Wildly uneven, with long stretches as dull as Dickie.
    • 47 Metascore
    • 50 Ruthe Stein
    Considering the talent on both sides of the camera and a story that worked beautifully the first time around, Shall We Dance? should have been a lot better than OK.
    • 54 Metascore
    • 50 Ruthe Stein
    Intermittently funny.
    • 77 Metascore
    • 50 Ruthe Stein
    Lumpy.
    • 46 Metascore
    • 50 Ruthe Stein
    Feels like a personal vendetta.
    • 47 Metascore
    • 50 Ruthe Stein
    While still trumpeting human ingenuity, the new movie lacks the subtlety, character development and exceptional ensemble acting of the 1965 version.
    • 40 Metascore
    • 50 Ruthe Stein
    With Lloyd Webber onboard not just as composer but also co-screenwriter and producer, the film seemed destined to stay true to its roots rather than attempt to transcend them.
    • 36 Metascore
    • 50 Ruthe Stein
    Harris and particularly Elise give over-the-top performances that bring Diary to the edge of soap opera.
    • 36 Metascore
    • 50 Ruthe Stein
    Amusing performances -- especially from Willis, who takes on a new personality with each new hairstyle -- can't disguise the fact that the film is basically a pastiche of recent movies.
    • 44 Metascore
    • 50 Ruthe Stein
    Lacks compelling narrative.
    • 57 Metascore
    • 50 Ruthe Stein
    A pretty ugly movie in its own right.
    • 67 Metascore
    • 50 Ruthe Stein
    Overly long and not especially enlightening film.
    • 42 Metascore
    • 50 Ruthe Stein
    A lumpy concoction.
    • 33 Metascore
    • 50 Ruthe Stein
    The truly shocking thing about the new version is that it's not bloody awful.
    • 62 Metascore
    • 50 Ruthe Stein
    Has the slapped-together, cheesy look of a porno movie. While this could be distracting, the shoddiness sets the mood for a humorous spin on the European porn industry circa early 1970s.
    • 48 Metascore
    • 50 Ruthe Stein
    An unfortunate casting decision, however, comes close to sabotaging a witty script.
    • 61 Metascore
    • 50 Ruthe Stein
    The material obviously had to be stretched to fill the big screen for almost two hours.
    • 47 Metascore
    • 50 Ruthe Stein
    Unfortunately, Hotel de Love also has all the originality of an all-purpose valentine. First- time filmmaker Craig Rosenberg appears to have seen every relationship movie ever made. To his credit, he borrowed only from the best.
    • 47 Metascore
    • 50 Ruthe Stein
    The last half is so superior to the first that you wish they'd rethought the whole thing and devised a way to make it more of a one piece.
    • 69 Metascore
    • 50 Ruthe Stein
    Often amusing but lacks the necessary bite.
    • 66 Metascore
    • 50 Ruthe Stein
    The film version is gorgeous to look at and contains amusing performances from Ralph Fiennes and Cate Blanchett in the title roles. But it fails to get inside the minds of gamblers as Peter Carey so admirably did in his Booker Prize-winning novel.
    • 55 Metascore
    • 50 Ruthe Stein
    The film will have to settle for a bogey rather than a par. Still, some hyperbole is warranted, like "Safest Movie to Take the Entire Family To."
    • 56 Metascore
    • 50 Ruthe Stein
    The message is muddled.
    • 59 Metascore
    • 50 Ruthe Stein
    As a sports drama -- a genre that's gotten entirely too much play lately -- "Dreamer" is singularly unexciting.
    • 58 Metascore
    • 50 Ruthe Stein
    A romantic saga that dares to ask realistic questions.
    • 54 Metascore
    • 50 Ruthe Stein
    The attempt to be clever is transparent.
    • 76 Metascore
    • 50 Ruthe Stein
    It's hard to get swept away when you're struggling to figure out who's doing what to whom and why.
    • 52 Metascore
    • 50 Ruthe Stein
    This harmless bit of fluff lacks the element of surprise but is not without random charming moments supplied by its incandescent star.
    • 60 Metascore
    • 50 Ruthe Stein
    Perhaps the humor has been lost in translation.
    • 64 Metascore
    • 50 Ruthe Stein
    Each time Something New touches on something controversial, it quickly retreats to some silliness.
    • 45 Metascore
    • 50 Ruthe Stein
    Has a certain charm and is sure to appeal to tweens, at least the female variety.
    • 54 Metascore
    • 50 Ruthe Stein
    Well-intentioned but lifeless.
    • 55 Metascore
    • 50 Ruthe Stein
    An energetic young cast, consisting of a mix of professional dancers and actors who do convincing imitations of Arthur Murray graduates, is positively inspired in numbers combining traditional ballroom steps with hip-hop.
    • 62 Metascore
    • 50 Ruthe Stein
    It's a first feature film for both screenwriter Alex Rose and director Gaby Dellal, and their inexperience shows in Frank's underdeveloped relationships with family and friends and in the movie's sluggish pacing.
    • 54 Metascore
    • 50 Ruthe Stein
    Art School Confidential exudes confidence as long as it is satirizing a questionable, at least according to Clowes, institution of higher learning. But the film loses its way with multiple subplots, becoming a hodgepodge that isn't particularly hard to follow, but, far worse, provides no compelling reason to bother.
    • 61 Metascore
    • 50 Ruthe Stein
    To label the parents in Wah-Wah dysfunctional doesn't adequately describe their wildly inappropriate behavior.
    • 70 Metascore
    • 50 Ruthe Stein
    If you can still be entertained by a thriller that unabashedly borrows from others of its ilk and don't mind reading subtitles, you could do worse than District B13. It's over so fast, in a quick 85 minutes, there's scarcely time to get bored by the silly plot.
    • 40 Metascore
    • 50 Ruthe Stein
    The film is better than it has any right to be, considering the prosaic source.
    • 50 Metascore
    • 50 Ruthe Stein
    As a romantic comedy, Cease Fire is more annoying than amusing.
    • 50 Metascore
    • 50 Ruthe Stein
    The movie is unable to achieve lift-off and transcend the formulaic stuff coming out of Hollywood, despite the perfect casting of Uma Thurman.
    • 41 Metascore
    • 50 Ruthe Stein
    Something to see and occasionally even to laugh at.
    • 63 Metascore
    • 50 Ruthe Stein
    While dinner and a movie is in theory a great idea, I'd avoid eating before taking in Lunacy.
    • 43 Metascore
    • 50 Ruthe Stein
    Superficially entertaining romantic romp.
    • 63 Metascore
    • 50 Ruthe Stein
    The movie is shamelessly manipulative.
    • 45 Metascore
    • 50 Ruthe Stein
    Extremely bleak but occasionally compelling debut feature.
    • 36 Metascore
    • 50 Ruthe Stein
    Well intentioned, but only occasionally creepy.
    • 57 Metascore
    • 50 Ruthe Stein
    May be too convincing for its own good.
    • 53 Metascore
    • 50 Ruthe Stein
    The problem with this one may be that it just isn't British enough.
    • 36 Metascore
    • 50 Ruthe Stein
    This will never be the movie of the month, but you could do a lot worse at the multiplex.
    • 52 Metascore
    • 50 Ruthe Stein
    A wildly erratic, often annoying but never boring endeavor.
    • 44 Metascore
    • 50 Ruthe Stein
    Despite a clever script and top-notch cast, whose commitment to doing service in the indie branch of the industry is commendable, Unknown falls apart just when it should be coming together.
    • 59 Metascore
    • 50 Ruthe Stein
    Harris' impressive channeling of Ludwig is diluted by the decision of screenwriters Stephen Rivele and Christopher Wilkinson to put the copyist front and center, possibly to distinguish their feature from "Immortal Beloved."
    • 64 Metascore
    • 50 Ruthe Stein
    For all the filmmaker's good intentions, Fast Food Nation isn't a particularly good movie. It doesn't hold together or grip you the way a documentary might have.
    • 59 Metascore
    • 50 Ruthe Stein
    A needlessly complicated and confusing thriller.
    • 47 Metascore
    • 50 Ruthe Stein
    Still feels stagebound, inert when it needs to be cinematic.
    • 52 Metascore
    • 50 Ruthe Stein
    This is familiar territory for writer-director Nancy Meyers, Hollywood's queen of the chick flick. Her latest has charming moments and a hopeful message for despondent singles, but it lacks the emotional resonance of Meyers' "Something's Gotta Give" and the zaniness of "What Women Want."
    • 53 Metascore
    • 50 Ruthe Stein
    The whole thing is dizzying, like "Moulin Rouge" without songs and dances extolling love.
    • 69 Metascore
    • 50 Ruthe Stein
    The movie is one big in-joke. It's watchable, but eventually wears you down with its over-the-top cleverness.
    • 49 Metascore
    • 50 Ruthe Stein
    Given his built-in appeal, Perry has the opportunity to broaden the subject matter of so-called black movies. He takes a stab at it in "Girls," but he could do so much better.
    • 74 Metascore
    • 50 Ruthe Stein
    Hanssen is such an enigma that any attempt to explain him has inherent interest. Breach expends too much energy on a minor functionary, but it is still worth seeing for its fleeting looks into a heart of darkness.
    • 65 Metascore
    • 50 Ruthe Stein
    While the documentary does a credible job of pointing out the magnitude of the problem, it skirts the issue of what can be done about it and by whom.
    • 29 Metascore
    • 50 Ruthe Stein
    A supernatural thriller that keeps your attention while failing to hold you in its grip.
    • 55 Metascore
    • 50 Ruthe Stein
    That Pride ultimately gets to you is more of a surprise than the outcome because it's not very well-constructed.
    • 61 Metascore
    • 50 Ruthe Stein
    As moving as some parts are, it's muddled by a script that tries to pack in too much. There's sufficient material for a couple of films and a sitcom.
    • 58 Metascore
    • 50 Ruthe Stein
    A neo-noir thriller long on atmosphere and short on production values.
    • 77 Metascore
    • 50 Ruthe Stein
    Suffers from Resnais' inability to open it up and give it the look and pulse of a film.
    • 48 Metascore
    • 50 Ruthe Stein
    A noble try that disappoints.
    • 68 Metascore
    • 50 Ruthe Stein
    A peculiar little film -- grim and disturbing yet perversely riveting.
    • 64 Metascore
    • 50 Ruthe Stein
    The Pillow Book sometimes seems like three different movies, each one an eyeful but together too much of a good thing.
    • 53 Metascore
    • 50 Ruthe Stein
    The mystery of Nancy Drew' is how a movie can get so many things right -- particularly the inspired casting of Emma Roberts as the spunky teenage sleuth -- yet ultimately disappoint.
    • 61 Metascore
    • 50 Ruthe Stein
    Broken English doesn't break any code or offer original insights on the subject. But there's a spark whenever Posey and Poupaud are together.
    • 63 Metascore
    • 50 Ruthe Stein
    Vitus is likable enough and definitely suitable entertainment for young people willing to read subtitles.
    • 69 Metascore
    • 50 Ruthe Stein
    A potentially great movie winds up buried inside a just OK one.
    • 21 Metascore
    • 50 Ruthe Stein
    While often cliche ridden and preposterous, it's too busy and loud to put anyone to sleep.
    • 44 Metascore
    • 50 Ruthe Stein
    It works primarily because of the chemistry between Chan and Tucker, which is at its combustible best this time out.
    • 51 Metascore
    • 50 Ruthe Stein
    Visually, the film is a stunner, dotted with psychedelic colors and many shades of red -- one battle is fought with red laser-gun sights -- some looking realistically like blood. When gangsters open fire, their falls are choreographed like a ballet. The problem comes when the cast opens its mouth and Elizabethan dialogue tumbles out.
    • 56 Metascore
    • 50 Ruthe Stein
    Only intermittently funny.
    • 61 Metascore
    • 50 Ruthe Stein
    The producers have stated that they're going after an American market that supports Spanish-language TV networks, radio stations and newspapers. This niche audience may well respond to not being required to read subtitles, for once, in a movie geared to them.

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