For 1,679 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 1.5 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Leopard (re-release)
Lowest review score: 0 Norbit
Score distribution:
1679 movie reviews
    • 67 Metascore
    • 60 Scott Tobias
    Ned Rifle feels closer to vintage Hartley than anything since 2001’s crazily underrated flop No Such Thing knocked him into semi-obscurity, but its dogged insularity stifles the modest pleasure of hearing the director’s distinct voice and watching his old favorites slip back into familiar roles.
    • 65 Metascore
    • 60 Scott Tobias
    A pleasantly inconsequential small-town quirkfest that's presumably more meaningful to native audiences.
    • 57 Metascore
    • 60 Scott Tobias
    With just a couple of strong casting choices and a winsome tone, an old formula can still work, and The Grand Seduction comes out of the lab with a disarming readiness to please.
    • 48 Metascore
    • 60 Scott Tobias
    The film too closely resembles what it's attempting to spoof--minus the obvious payoffs, of course.
    • 60 Metascore
    • 60 Scott Tobias
    A solid, middle-of-the-road Leonard adaptation that lacks the singularity to be something more.
    • 76 Metascore
    • 60 Scott Tobias
    For all of Audrey Tautou's considerable charm in the title role, Jeunet's need for a well-ordered universe proved as suffocating and exhausting as being trapped on an amusement-park ride.
    • 53 Metascore
    • 60 Scott Tobias
    Runs more smoothly and stylishly than the average teen comedy.
    • 60 Metascore
    • 60 Scott Tobias
    Holm carries Napoleon's regal bluster without edging into cartoonish folly, taking him seriously enough to make an absurd situation solemn, and keeping the film from winking too coyly at its audience.
    • 54 Metascore
    • 60 Scott Tobias
    Best of all is the half-surreal, half-touching scene of the couple ordering Chinese delivery - needless to say, the tip is sizable - and inviting the courier to Skype his family one last time and share in a moment of common humanity.
    • 52 Metascore
    • 60 Scott Tobias
    The great character actor Gary Cole, in particular, stands out as Bosworth's father, who tries to impress Duhamel by reading the trades, thumbing through Julia Phillips' autobiography, and donning a Project Greenlight T-shirt.
    • 72 Metascore
    • 60 Scott Tobias
    It’s a call to action in the form of an adoring profile, which is effective (and affecting) strategy, but narrow, propagandistic filmmaking.
    • 73 Metascore
    • 60 Scott Tobias
    Doesn't function nearly as well as a standalone piece, mainly because it's stuck with the thankless task of mopping up after the other two.
    • 65 Metascore
    • 60 Scott Tobias
    The Visitor is like a puzzle jammed together by a 3-year-old, with the polyglot pieces forced into place whether they fit or not. In other words, it’s an essential curiosity.
    • 60 Metascore
    • 60 Scott Tobias
    If there’s any thought to the screen musical being revived as more than a Broadway brand extension, Kendrick makes the emphatic case that she’s the star it should be built around.
    • 54 Metascore
    • 60 Scott Tobias
    The film comes to life whenever the cartoonishly vindictive Gong throws a tantrum, but she played virtually the same role in Zhang Yimou's "Shanghai Triad," which presented a far more compelling rationale for her star fits. Without her, this expensive piece of backlot pageantry turns vivid history into an ossified tchotchke.
    • 66 Metascore
    • 60 Scott Tobias
    There isn’t a bad scene in Borgman... But van Warmerdam just keeps on teasing and teasing, until the creeping suspicion sets in that teasing is all the film is going to do.
    • 81 Metascore
    • 60 Scott Tobias
    Norte is the rare film where the characters seem simpler the longer we spend time with them. They’re humans that evolve into types.
    • 62 Metascore
    • 60 Scott Tobias
    But de Heer's high-concept feminist tract loses some of its integrity over time, as it slowly devolves into a seedy, voyeuristic thriller that takes all too much pleasure in turning the screws.
    • 67 Metascore
    • 60 Scott Tobias
    For all the formidable intellect that went into its conceit, When Evening Falls On Bucharest has a slightness that isn’t helped much by the weight of the discussion, which occasionally presses it into a flat soufflé. But Porumboiu’s insight into the filmmaking process itself is often fascinating.
    • 37 Metascore
    • 60 Scott Tobias
    Be Cool more often evokes the image of a screenwriter furiously trying draft after draft to accommodate all the stars. Accommodating the audience becomes a distant priority.
    • 77 Metascore
    • 60 Scott Tobias
    If the purpose of The Hunting Ground is to raise awareness and call viewers to action, then mission accomplished. But the tactics used are often graceless and propagandistic, and take away from the moving testimonials and the on-the-ground organization at the film’s core.
    • 71 Metascore
    • 60 Scott Tobias
    Both the actor and the character deserve a better movie, one that might have channeled the latter's desires into more than just a few rote genre thrills.
    • 49 Metascore
    • 60 Scott Tobias
    There's at least one good movie in The Man Who Copied's 124 minutes, but Furtado never settles on it.
    • 82 Metascore
    • 60 Scott Tobias
    Settles into pleasant monotony and repetition, without any narrative arc or purpose. Seasoned bird-watchers, however, may find that the sensory overload leaves them close to spiritual nirvana.
    • 60 Metascore
    • 60 Scott Tobias
    Farmiga and Garcia have a chemistry that’s unassuming and sneaky, and the pleasure they get from each other’s company ultimately proves infectious.
    • 61 Metascore
    • 60 Scott Tobias
    White Oleander goes through the paces with a little more dignity than usual, which is a mark of either director Peter Kosminsky's refusal to overplay the melodrama, or his inability to wring it for all it's worth.
    • 75 Metascore
    • 60 Scott Tobias
    If Pistol Opera turns out to be Suzuki's swan song, instead of just an anticlimactic comeback, no one can claim he didn't go out on his own stubborn terms.
    • 37 Metascore
    • 60 Scott Tobias
    Only God Forgives suffers from the disconnect between its stylistic high-art archness and its content’s pulp gratuitousness. Refn gives every sequence a hushed consideration, but there’s rarely a sense that he’s earned it with equivalent profundity in theme.
    • 69 Metascore
    • 60 Scott Tobias
    There’s a clarity to Snook’s emotional journey that’s absent from the rest of the film—a fact that’s partly deliberate, since Heinlein and the Spierigs mean to dive into the soup. But amid the murky genre experimentation, it’s a beacon of truth.
    • 70 Metascore
    • 60 Scott Tobias
    As a loaded summary of an important, disquieting chapter in Illinois legal history, A Murder In The Park gets the blood boiling, and suggests a justice system open to manipulation by bad actors.
    • 79 Metascore
    • 60 Scott Tobias
    The film is often a rough, searching, unfocused piece of work, but at a minimum, it affirms Bell as a talent to watch both as an actress and a writer-director, one with a strong, developing comedic sensibility.
    • 63 Metascore
    • 60 Scott Tobias
    The trouble with A Cat in Paris lies not in its orchestration, which is mostly impeccable, but with what little is being orchestrated. It's well plotted but a little rote, clever but a far cry from ingenious, attractive but not particularly evocative. When it ends, it leaves behind the faintest of paw prints.
    • 41 Metascore
    • 60 Scott Tobias
    It's a tame, hypocritical fantasy.
    • 59 Metascore
    • 60 Scott Tobias
    A cluttered, awkward blockbuster that's just smart enough to get itself into trouble.
    • 38 Metascore
    • 58 Scott Tobias
    Martin makes a fine Clouseau, re-energizing musty old physical gags involving chandeliers and priceless vases, and rolling his tongue around a zesty form of pidgin French. If he ever finds his Blake Edwards, there may be hope for this franchise yet.
    • 31 Metascore
    • 58 Scott Tobias
    Working from a solid template is only half the battle; the other half is filling in the details, and it's here that The House At The End Of The Street goes flat and generic, substituting jump-scares and visual twitchiness for the psychological complexity that might have sold the horror.
    • 53 Metascore
    • 58 Scott Tobias
    Wilson and a loaded supporting cast are never as funny as they should be.
    • 43 Metascore
    • 58 Scott Tobias
    What does it all mean? Nothing much greater than the sum of its seriocomic vignettes. To that end, Women In Trouble tends to sputter to life whenever the stories get racy.
    • 69 Metascore
    • 58 Scott Tobias
    There's plenty of black comedy in their twisted affair, but a more substantial documentary wouldn't leave you smiling.
    • 61 Metascore
    • 58 Scott Tobias
    That the film works as well as it does--as an attractive, rousing time-passer for children--speaks more to the endurance of a good formula than its revitalization.
    • 57 Metascore
    • 58 Scott Tobias
    Efron is the epitome of sexless Disney heartthrobs, but he's an electrifying song-and-dance man, so much so that his castmates (Bleu excepted) look like they have concrete shoes by comparison.
    • 75 Metascore
    • 58 Scott Tobias
    Mostly, 24 City falls into the same Jia trap of inadvertently drawing the viewers' gaze past his human subjects and to the poetic images of a country in painful metamorphosis.
    • 33 Metascore
    • 58 Scott Tobias
    Words like "smug," "derivative," and "shallow" could all be fairly applied to the film, but as a piece of late-night exploitation, it delivers the violence and nudity with the regularity of an IV drip, and some familiar faces in the cast help class it up.
    • 43 Metascore
    • 58 Scott Tobias
    Hallström's approach to the material is tasteful and restrained to a fault.
    • 55 Metascore
    • 58 Scott Tobias
    After all the actorly fireworks, Street Kings concludes that the LAPD is an institution where even the well-intentioned can't work clean. Okay. What else?
    • 58 Metascore
    • 58 Scott Tobias
    Zero Bridge is a rigorous piece of filmmaking, but it's played at too minor a key, honoring the neo-realist tradition so slavishly that it lacks an identity of its own.
    • 41 Metascore
    • 58 Scott Tobias
    Too much of The Limits Of Control feels canned and airless, so stifled by Jarmusch's obsessions that it loses all sense of surprise.
    • 61 Metascore
    • 58 Scott Tobias
    Hideaway bottles up stormy feelings of grief, guilt, and desire so tightly that register only in a few sharp, impetuous bursts. The rest of the time, it's dull and inscrutable-a film of almost vaporous subtlety.
    • 57 Metascore
    • 58 Scott Tobias
    Here's a story about a man who befriended and eventually killed a Texan while going incognito as an exceptionally frumpy woman, then was eventually nabbed shoplifting a chicken-salad sandwich while carrying more than $500 in his pocket. Why underplay that?
    • 36 Metascore
    • 58 Scott Tobias
    The film has one thing going for it--it's certainly never boring.
    • 64 Metascore
    • 58 Scott Tobias
    More of the same, only more. Yet here, “more” means a more needlessly convoluted plot, a more cartoonish parade of ethnic stereotypes, and more leaden political metaphor than viewers can digest.
    • 63 Metascore
    • 58 Scott Tobias
    ATL
    Ultimately, the film could stand to be more inconsequential, because whenever anything happens to move the story along, it immediately loses its laid-back Southern charm.
    • 63 Metascore
    • 58 Scott Tobias
    In trying to recapture the spirit of classic '30s screwball comedies, the film too often mistakes manic energy for wit, and it ends on a note of gloppy sentimentality that wouldn't have held water in Old Hollywood.
    • 58 Metascore
    • 58 Scott Tobias
    There's potential for a lot more excitement in Splinter, but Wilkins seems content just to bring it across the finish line.
    • 53 Metascore
    • 58 Scott Tobias
    The first of two sequels shot in immediate succession, Dead Man's Chest bears the unenviable burden of racking the pins for both movies, which leaves it with precious few opportunities to have a little fun of its own.
    • 59 Metascore
    • 58 Scott Tobias
    Belman doesn’t look into the bigger problems of James’ team jet-setting across the country during the school year, or the spectacle allowed to build up around him. He cares most about what happens on the court, which is diverting and fun as far as it goes, but not close to the whole story.
    • 59 Metascore
    • 58 Scott Tobias
    There are times when Nanny McPhee seems designed to drive all but the most sugar-crazed spazzes out of the theater: Colors that should never go together clash like a tempest, the camera whisks around in manic curlicues, and a musical score makes certain that nothing magical goes underemphasized.
    • 59 Metascore
    • 58 Scott Tobias
    Rarely have Bruckheimer and Scott been so upfront about insulting people's intelligence.
    • 31 Metascore
    • 58 Scott Tobias
    The mere presence of a second layer to the story gives Texas Chainsaw 3D an intriguing kick, and it adds a couple moments of visual wit that show a willingness to fiddle around with the genre. Not being irredeemable garbage counts as a modest achievement, but it's a small step in the right direction.
    • 48 Metascore
    • 58 Scott Tobias
    The FP feels like a junky, disposable lark, created for a midnight audience to swallow, belch, and forget about the next morning.
    • 57 Metascore
    • 58 Scott Tobias
    In spite of a subtle performance by Ulrich Tukur in the eponymous role, Gallenberger’s film feels labored and emotionally disengaged, an autumn-hued history lesson that’s as studiously reserved as its steel-spined subject.
    • 68 Metascore
    • 58 Scott Tobias
    Though it scores a reasonable share of laughs, Delirious might have been better off if it weren't a comedy at all.
    • 53 Metascore
    • 58 Scott Tobias
    It's all superficially enjoyable, right up to the point where the big picture starts coming into focus and it's not worth looking anymore.
    • 42 Metascore
    • 58 Scott Tobias
    With his flamboyant ridiculousness, Travolta does, however, give From Paris With Love a pulse, which is more than can be said for the film’s petulant hero, played by Jonathan Rhys Meyers.
    • 73 Metascore
    • 58 Scott Tobias
    There's no organizing principle in Ivanova's documentary, which unfolds in a ragged, seat-of-the-pants style that mirrors its subject's day-to-day life all too closely. Nenya's flock proves too big for the film to wrangle.
    • 63 Metascore
    • 58 Scott Tobias
    The overall effect is enervating, like a party that grinds on after most of the attendees have either left or passed out. And much like "Kids," the enfant terrible’s breakthrough screenplay, Korine’s film has an unintended moral hysteria, like a warning to parents of what their good girls are doing when they aren’t looking. The message: Keep them locked up. In their bikinis, if necessary.
    • 53 Metascore
    • 58 Scott Tobias
    It's uplifting, but shallow.
    • 57 Metascore
    • 58 Scott Tobias
    Shannon’s performance takes The Missing Person as far as it goes, but when a real-world tragedy commandeers the story, Buschel’s thin pastiche falls to pieces.
    • 43 Metascore
    • 58 Scott Tobias
    The film goes off the rails in the final third, sacrificing subtle character work at the altar of blood-and-guts survival horror. As mood-killers go, it's like a jab to the back of the neck.
    • 62 Metascore
    • 58 Scott Tobias
    It's content enough just to drink in the regional flavor, appreciate the carefree heartiness of the locals, and allows these two eccentrics to have some good times before the carriage turns into a pumpkin. The film treads lightly, but leaves little impression.
    • 50 Metascore
    • 58 Scott Tobias
    "Titanic" without the metaphors, the class-consciousness, the love story, or anything resembling a theme, Poseidon invests so little in its screenplay that it might as well be an episode of "The Love Boat" gone horribly awry.
    • 45 Metascore
    • 58 Scott Tobias
    There's a good movie here, but we get it in pieces that are sometimes hard to decipher.
    • 50 Metascore
    • 58 Scott Tobias
    Good horror films are imprinted by the fears and anxieties of the day, converting real-life atrocities into abstracted scares; mediocre ones are imprinted, too, but with trends and commercial formulas. If Dark Skies resurfaced on TV or brain implant 20 or 30 years from now, horror fans would be able to carbon-date the film almost to the month.
    • 36 Metascore
    • 58 Scott Tobias
    It's a con job that feels like a precisely attenuated work of art, elegantly weaving flashbacks and ellipses into the story in an effort to conceal how shamelessly manipulative it is in the end. And as always, Smith comes out a winner.
    • 52 Metascore
    • 58 Scott Tobias
    Luis Prieto's remake capably mimics the original's breakneck energy without adding a single thing. It seems to exist mostly to stuff more violence into Britain's insatiable maw for crime pictures.
    • 59 Metascore
    • 58 Scott Tobias
    Hur invests the period setting with an eye-popping opulence that's meant to highlight the elite decadence that came before the fall, but his Dangerous Liaisons isn't particularly sophisticated on a political or historical level.
    • 62 Metascore
    • 58 Scott Tobias
    42
    The Jackie Robinson biopic 42 operates in a box inside of a box—and not the batter’s box, either, because that would imply it has some freedom to swing away. It’s thoroughly embalmed in the glossy lacquer of conventional baseball movies, and limited further by trying to deal with the horrors of racism in that context.
    • 62 Metascore
    • 58 Scott Tobias
    Centurion offers little beyond viscera for its own sake, without anything like the bold abstraction of "Valhalla Rising."
    • 43 Metascore
    • 58 Scott Tobias
    The word "slight" doesn't even begin to describe how minor the quirky indie comedy From Other Worlds turns out to be, though its sheer lack of pretension may be its greatest asset.
    • 60 Metascore
    • 58 Scott Tobias
    The film doesn’t come to life until too late in the game.
    • 65 Metascore
    • 58 Scott Tobias
    Superficially exciting and handled with great aplomb. But the film is running to go nowhere.
    • 57 Metascore
    • 58 Scott Tobias
    Typical of bad improv, the inmates take over the asylum, leaving a movie that's little more than a loose, wildly uneven assemblage of individual comedic shtick.
    • 52 Metascore
    • 58 Scott Tobias
    Haggis doesn't trust the action to carry his themes across without emphasis, and his movie suffers for it.
    • 60 Metascore
    • 58 Scott Tobias
    It's often stylish and exciting, but the pile-up of cool kills, hot bodies, and other unprocessed bits of juvenilia doesn't add up to a good time.
    • 62 Metascore
    • 58 Scott Tobias
    Dying to hear George Hamilton’s origin story? No? Well, too bad, because the mediocre, nostalgic-soaked comedy-drama My One And Only, loosely inspired by Hamilton’s childhood, has been produced with a few big stars attached.
    • 45 Metascore
    • 58 Scott Tobias
    Though a clearly gifted new filmmaker, Lugacy doesn't get a handle on the combustible material, and she gets scalded in the process.
    • 64 Metascore
    • 58 Scott Tobias
    Neeson brings gravitas to the table, acting as a legitimizing counterweight to the overwrought dialogue and flesh-tearing lupine hysteria. But in a scenario this persistently ludicrous, he can only do so much.
    • 54 Metascore
    • 58 Scott Tobias
    Writer-director David Riker, who previously made the accomplished 1998 Paisan homage The City (La Ciudad), has a great eye for detail: He sketches the narrow boundaries of Cornish’s sad life in Austin expertly while bringing a village square across the border to vivid life. He also gets another fine performance out of Cornish.
    • 46 Metascore
    • 58 Scott Tobias
    The film has a warmth and raucousness that's surprisingly disarming.
    • 66 Metascore
    • 58 Scott Tobias
    The shooting of the movie-within-a-movie offers the brightest moments in Son Of Rambow, a testament to the innocence of the boys' creative impulse and the sheer unlikely pleasure of their friendship.
    • 44 Metascore
    • 58 Scott Tobias
    Much of Oz The Great And Powerful’s fate is tied to James Franco’s performance as Oz, and the center barely holds, with Franco often looking as overwhelmed by the task as he was by his hosting job on Oscar night.
    • 67 Metascore
    • 58 Scott Tobias
    The historical backdrop is fascinating and an important part of this story, but there’s a pervasive sense that director Philipp Stölzl and his screenwriters soft-pedal it as much as possible in order to exalt their heroes.
    • 51 Metascore
    • 58 Scott Tobias
    But save for a giddily gratuitous sequence involving full-frontal nudity, a little person, and a French bulldog, the film is strictly by-the-numbers slasher boilerplate. It won't endure past the weekend.
    • 58 Metascore
    • 58 Scott Tobias
    The intrinsically powerful material occasionally pierces through.
    • 68 Metascore
    • 58 Scott Tobias
    It’s virtually impossible to hate the film, but Barrymore’s presence behind the camera suggests more calculation than vision; like a lot of actors who direct, she tends to the performances, but her style never rises above bland proficiency.
    • 58 Metascore
    • 58 Scott Tobias
    What's surprising, and ultimately disappointing, about Gainsbourg: A Heroic Life is the degree to which Sfar allows biopic obligations to smother his more whimsical instincts.
    • 69 Metascore
    • 58 Scott Tobias
    Donaldson also misses the chance to score some easy laughs from his petty criminals, who are infinitely more audacious than they are competent.
    • 69 Metascore
    • 58 Scott Tobias
    Willis does everything short of donning a cape and reversing time by orbiting the Earth at light speed, and the air of cheerful ridiculousness recalls Luc Besson-produced action films like "Transporter 2" or "District B13."
    • 56 Metascore
    • 58 Scott Tobias
    It’s hard not to get swept up by the film's progressive zeal, but Disney doesn’t allow for much grey area.
    • 53 Metascore
    • 58 Scott Tobias
    Dickerson passes on the occasion for existential drama and goes for the race-against-the-clock urgency of an ordinary guy trying to crawl out of his predicament. It’s effective enough, but there isn’t much to it.
    • 81 Metascore
    • 58 Scott Tobias
    The film feels oddly slack and inert, livened only by testimony better suited to another forum.
    • 84 Metascore
    • 58 Scott Tobias
    There's none of the poetry of "For All Mankind," just visual support for a meat-and-potatoes recap of events that have already been chewed over plenty.
    • 45 Metascore
    • 58 Scott Tobias
    It uses a story about family as a vehicle for glorifying gangsterism. In other words, it's empty, amoral, and - in the style of other Besson productions - surprisingly easy to digest.
    • 66 Metascore
    • 58 Scott Tobias
    As with all of Philibert's work, Nénette is impeccably composed and admirably disciplined, but his patient observation can't unlock the mysteries of an animal that's grown more introspective and likely less expressive over time.
    • 48 Metascore
    • 58 Scott Tobias
    It's hard to say what, aside from novelty, is gained by having the boy believe he's from Mars, because the core emotion in the film comes from the simple, common premise of an adoptive father and son trying to forge a life together.
    • 43 Metascore
    • 58 Scott Tobias
    In the context of Coppola's life and career, the film has a searching intelligence and ambition that can't be entirely dismissed; with his own money and nobody looking over his shoulder, Coppola has gone uprriver again in an effort to reinvent himself and cinema in the process. He ultimately fails, but he can't be faulted for trying.
    • 55 Metascore
    • 58 Scott Tobias
    The inevitable breakdown on this commercial façade might have led The Joneses into more disturbing territory, but Borte goes the other direction, away from jagged comedy and toward well-meaning homilies. No sale.
    • 56 Metascore
    • 58 Scott Tobias
    W.
    Stone paddles down the giant river of Bush's life without exploring any of the tributaries; he passes by two or three dozen better movies along the way.
    • 49 Metascore
    • 58 Scott Tobias
    Like so many late-period Allens, it leaves behind the feeling that he's made this movie before, but better.
    • 69 Metascore
    • 58 Scott Tobias
    So why, given its moment-to-moment surplus of visual imagination, does the film feel so hollow and unsatisfying?
    • 55 Metascore
    • 58 Scott Tobias
    Any proper adaptation of Dark Shadows, even one that acknowledges and celebrates its camp silliness as much as Burton's does, has to immerse itself in soap opera, too, and it's here that the director's lack of conviction becomes apparent.
    • 58 Metascore
    • 55 Scott Tobias
    Heartless seems eternally at war with its own genre, unwilling to succumb to bloody mayhem yet neither smart nor coherent enough to transcend horror convention.
    • 58 Metascore
    • 55 Scott Tobias
    On a technical level, The Tree marks a significant advance over the humble utility of Bertuccelli's previous film, drinking in Australia's pastoral majesty with an abundant eye for beauty that falls just short of the intended poetry. Yet the characters aren't nearly as resonant.
    • 51 Metascore
    • 55 Scott Tobias
    Whatever lizard-brain fun might have been had in watching Johnson do battle against a drug cartel is weakened by the occasional hard tug at the social conscience. The film winds up divided against itself.
    • 63 Metascore
    • 55 Scott Tobias
    Rio
    Name the first things that come to anyone's mind about Rio de Janeiro - samba, soccer, sunbathing, Carnival - and those are the building blocks of this movie. Expect the expected.
    • 53 Metascore
    • 55 Scott Tobias
    Once the colorful anecdotes sprawl out into an actual narrative, the film gets convoluted and loud, amplifying the weirdness without doing much to clarify it.
    • 52 Metascore
    • 55 Scott Tobias
    There's a better documentary to be carved out of Hit So Hard, but not necessarily a great one, because the gossip and drug-fueled capers offered up by Love are simply more compelling than the tremulous course of Schemel's life. Here, as then, Schemel plays backup to history.
    • 64 Metascore
    • 55 Scott Tobias
    But a few mild misgivings aside, Spurlock has made, in essence, a 90-minute promo reel for the convention, a paean to fanboy (and fangirl) enthusiasm that could double as an orientation video, if such a thing were necessary. It's a brisk and cheery overview, sweet but superfluous.
    • 51 Metascore
    • 55 Scott Tobias
    Nothing about it lingers, not even the sulfuric stench of a bum scene or a particularly hammy performance.
    • 55 Metascore
    • 55 Scott Tobias
    So long as Exporting Raymond sticks to the headaches of adapting Everybody Loves Raymond into Everybody Loves Kostya, it's a funny and revealing look at the immense chasm between the two cultures.
    • 53 Metascore
    • 55 Scott Tobias
    Delicacy is phony in ways that might seem drearily familiar to audiences weaned on American romantic comedies.
    • 55 Metascore
    • 50 Scott Tobias
    It's a beautiful mess, but it's a mess all the same.
    • 39 Metascore
    • 50 Scott Tobias
    Director Jeff Wadlow and screenwriter Chris Hauty are so committed to following through on the "Karate Kid" formula that they don't care for novelty; it's enough for them just to hit their cues and play up the slo-mo MMA brutality. In the future, movies this derivative will be made by robots.
    • 50 Metascore
    • 50 Scott Tobias
    “My Life Directed” is mostly disposable, just the sort of home-movie project a restless artist might sketch while stuck in a hotel room for a few months. It’s not a movie so much as a cry for help.
    • 56 Metascore
    • 50 Scott Tobias
    Donaldson and his battery of screenwriters aim for nothing more than a coolly efficient thrill machine, but the mechanics break down in the end, foiled by a "whodunit" twist that's telegraphed early in the first reel. Careening forward without any real purpose, the film simply flies off the rails.
    • 69 Metascore
    • 50 Scott Tobias
    The trouble with artists making documentaries about other artists is that art tends to get in the way.
    • 64 Metascore
    • 50 Scott Tobias
    Like many stylish, whipcrack American and British indies made in the wake of Quentin Tarantino and "Trainspotting," the film gets off on the same anything-can-happen storytelling brio, which at least keeps things lively. But without any resonant characters or ideas, it's all empty calories.
    • 47 Metascore
    • 50 Scott Tobias
    If her adoring public doesn't mind paying for the same movie twice, Legally Blonde 2 stands to leave her star power unquestioned.
    • 40 Metascore
    • 50 Scott Tobias
    Though pitched as a thriller, Robinson’s woefully underbudgeted film plays instead like a chamber drama, so simple and unadorned that it could just as easily be staged as an off-off-Broadway play without anyone telling the difference. And that isn’t entirely to the film’s detriment, either: With a cast choked with great character actors like Ed Harris, William Fichtner, and Lance Henriksen, less is sometimes more.
    • 42 Metascore
    • 50 Scott Tobias
    Next bears some resemblance to another Dick adaptation, "Minority Report," about "pre-cogs" who can anticipate murders before they happen, but it doesn't really bother exploring the moral or emotional implications of Cage's power.
    • 61 Metascore
    • 50 Scott Tobias
    What's really missing from Conviction are the thorny questions it refuses to take up with any depth.
    • 63 Metascore
    • 50 Scott Tobias
    Happy Times doesn't buck the clichés so much as infuse them with feeling, playing off the pleasant, unforced rhythm of two characters who pine for simple companionship.
    • 48 Metascore
    • 50 Scott Tobias
    Silver means to get across the adrenaline rush of lives lived in dangerous extremes, but winds up trivializing their accomplishments and making them seem like men of hearty appetites, but little intellectual depth.
    • 51 Metascore
    • 50 Scott Tobias
    It's a triptych of erotic-themed short films directed by contemporary giants Wong Kar-wai and Steven Soderbergh, and nonagenarian master Michelangelo Antonioni. But the auteurist feast turns out to be a paltry spread, with one director on autopilot, another playing it safe, and the last apparently working on assignment for the European "Red Shoe Diaries."
    • 68 Metascore
    • 50 Scott Tobias
    It makes a persuasive argument — which it makes easier by not allowing any counterargument — but it’s unpersuasive as a piece of filmmaking. In laying out its case, it’s manipulative and dull by turns.
    • 59 Metascore
    • 50 Scott Tobias
    While it's admirably perverse for a "killer-tire movie" to be this snooty, it's about half as clever as it thinks it is.
    • 42 Metascore
    • 50 Scott Tobias
    Leave it to Giamatti to bring gravitas to the fat guy in the red suit; he's naturally the straight man in the sibling duo, but whenever Fred Claus goes for the heartstrings, he's the only one capable of plucking in tune.
    • 53 Metascore
    • 50 Scott Tobias
    If Porter's songs are so timeless, why does the movie sound like something that might have played on VH1 five years ago?
    • 56 Metascore
    • 50 Scott Tobias
    Tacked onto a perfectly respectable thriller, Unknown's mass of unlikely turns and implausible reveals make the whole film seem retroactively less sophisticated.
    • 49 Metascore
    • 50 Scott Tobias
    None of it sticks, but with the door left open for a third Men In Black movie, the one advantage of forgetting everything is not knowing exactly what's coming two summers from now.
    • 44 Metascore
    • 50 Scott Tobias
    Essentially the same heartwarming goo about three generations of men quarreling and bonding, with Kirk just as feisty as ever.
    • 34 Metascore
    • 50 Scott Tobias
    Again coaxing the worst imaginable performances out of his actors (see also: Cary Elwes and Danny Glover in "Saw"), Wan casts charisma-free unknown Ryan Kwanten as a young married man whose small-town past catches up to him.
    • 63 Metascore
    • 50 Scott Tobias
    The lack of authenticity underlines the thinness of their conceit: Without a plausible backdrop, all that's left of Love Crime are the power games between two duplicitous women and the serpentine plotting that results. And even that, under the slightest scrutiny, frays like a thin layer of tissue paper.
    • 47 Metascore
    • 50 Scott Tobias
    The big names don't do needy as well as "Big Love's" Ginnifer Goodwin.
    • 68 Metascore
    • 50 Scott Tobias
    Whenever Rappeneau stays close to Adjani, the film briefly soars on her giddy self-absorption--particularly in the first hour, when it hasn't been sullied by misfortune. But ultimately, the big stars are just window dressing for an expensive nothing.
    • 83 Metascore
    • 50 Scott Tobias
    Avatar is a weak patchwork of his other films: the leaden voiceover from "Terminator 2" here, the military/civilian conflict from "Aliens" there, even a Jack-and-Rose-style forbidden love story cued to adult-contempo soundtrack.
    • 57 Metascore
    • 50 Scott Tobias
    At best, it's a light, boisterous little confection, but hasn't Hugh Grant already starred in this film a few times?
    • 50 Metascore
    • 50 Scott Tobias
    It’s a slickly packaged, proficient thriller first, political statement a distant, speck-on-the-horizon second.
    • 63 Metascore
    • 50 Scott Tobias
    Watching Rocky Balboa go through the usual paces does trigger a few helpless waves of nostalgia, especially once Bill Conti's famed score kicks in and Stallone sticks it to a few sides of beef. But audiences needn't be responsible for helping an over-the-hill actor through his midlife crisis.
    • 51 Metascore
    • 50 Scott Tobias
    This is a loud, ugly, foul comedy whose shortcomings extends far into the supporting cast.
    • 53 Metascore
    • 50 Scott Tobias
    So along with being fake punk-rock, Stick It is also a fake protest movie. That leaves the only traces of genuineness to Bridges, who plays the coach with a fatherly patience that earns him a paycheck, but not the better film he deserves.
    • 61 Metascore
    • 50 Scott Tobias
    Ristovski wants the plight of a bullied moppet to serve as a sweeping metaphor for Macedonian struggle, but his miserablist excesses have the effect of converting realism into a graphic cartoon.
    • 72 Metascore
    • 50 Scott Tobias
    Starts in one direction, then performs a cruel narrative fake-out, sandwiching together two different movies that are scarcely related.
    • 44 Metascore
    • 50 Scott Tobias
    Mayron tries for a junior-league "All About Eve," but that backfires horribly, not least because her diabolical Eve (Perabo) is more charismatic and imaginative than her heroine.
    • 62 Metascore
    • 50 Scott Tobias
    The problem with Tim Robbins' dreadful turn as a South African "anti-terrorist" official in Catch A Fire--and it was also a problem with his sniveling Bill Gates impersonation in "Antitrust"--is that he can't hide his distaste for his own character.
    • 28 Metascore
    • 50 Scott Tobias
    While not quite a red herring, the corporate stuff serves as a prelude to a long-winded and mostly embarrassing treatise on alternative lifestyles and filial responsibility.
    • 39 Metascore
    • 50 Scott Tobias
    The songs are fine; the slaughter is sub-standard.
    • 35 Metascore
    • 50 Scott Tobias
    What's Your Number? trades in the sort of hard-R crudity that's become standard since "The Hangover," but the added explicitness doesn't make it any less artificial a contraption.
    • 51 Metascore
    • 50 Scott Tobias
    Zips along on smooth formula plotting and some energetic performances, but its farcical elements have the tepid rhythm of a bad situation comedy, with silly misunderstandings and embarrassing moments that could have easily been avoided.
    • 63 Metascore
    • 50 Scott Tobias
    Though woefully oblique and underdeveloped, writer-director Tim McCann's Revolution #9 attempts the difficult task of burrowing into the fractured mind of a modern man who loses his grip on reality.
    • 51 Metascore
    • 50 Scott Tobias
    Writer-director Katrin Gebbe rubs viewers’ faces in this dog dish of a film, with the promise that some sliver of transcendence will redeem it. But it’s all dog dish.
    • 67 Metascore
    • 50 Scott Tobias
    There are mysteries and ambiguities aplenty about Armstrong and the current state of professional cycling, but Gibney has trouble accessing them without getting in his own way.
    • 39 Metascore
    • 50 Scott Tobias
    Beyond the "hell hath no fury" angle that overlays the story, When Will I Be Loved amounts to nothing more than another repository for kinky Tobackisms: Seen one (and the one to see remains 1978's Fingers), seen them all.
    • 55 Metascore
    • 50 Scott Tobias
    No one seems to recognize the irony of making a film about corporate rigging that is itself outrageously rigged.
    • 63 Metascore
    • 50 Scott Tobias
    Zero Charisma is a comedy by classification, but its cruelties have a way of turning it into a psychodrama inadvertently. The tone is often as abrasive as its hero.
    • 38 Metascore
    • 50 Scott Tobias
    Singleton abandons the underground racing subculture that gave the first film its allure, relying instead on lazy thriller plotting that's only a bag of donuts and a freeze-frame away from the average TV cop show.
    • 44 Metascore
    • 50 Scott Tobias
    There’s an overlay of gender politics, but it isn’t so firmly ingrained in the material that it transforms Levine’s throwback ’80s slasher film into a much nobler, more thoughtful endeavor.
    • 55 Metascore
    • 50 Scott Tobias
    Faris has mostly logged time in dire vehicles like The House Bunny, which are dumb-dumb to her smart-dumb.
    • 51 Metascore
    • 50 Scott Tobias
    La Soga isn't without redeeming qualities: Superfluous flashbacks aside, Crook keeps the action moving at a fast clip, cutting fluidly from the streets of Santiago to its criminal pipeline in Washington Heights, and he gets a sinister turn from Calderon, a veteran character actor who plays Rafa with a soulful swagger.
    • 50 Metascore
    • 50 Scott Tobias
    Though Eat Pray Love never loses the sour whiff of unexamined first-world privilege, its heroine does at least immerse herself in different cultures rather than expecting them to adapt to her.
    • 50 Metascore
    • 50 Scott Tobias
    Confusing gender issues like the ones dredged up in Ex-Girlfriend call to mind another Reitman dud, the pregnant-Arnold Schwarzenegger comedy "Junior," and the sophistication level has only slightly improved since then.
    • 53 Metascore
    • 50 Scott Tobias
    All the bright colors Cassavetes splashes on the canvas don't make Alpha Dog art.
    • 69 Metascore
    • 50 Scott Tobias
    Scrub away the gore and the nastier bits of provocation, and Ben Wheatley's Sightseers belongs squarely in the tradition of British classics like "Kind Hearts and Coronets" and "The Ruling Class" — satires that transformed simmering class resentment into brittle, nasty dark comedy.
    • 50 Metascore
    • 50 Scott Tobias
    Peel away the many layers of reference, and all that's left of Americano is the raw need of a lonely, confused young man who's distant from his family, awash in vague memories, and struggling to find himself. This is less a movie than a patient for pop psychologists.
    • 61 Metascore
    • 50 Scott Tobias
    There's no subtext to The Jane Austen Book Club, just a skim across the books' surface that winds up re-shelving a great author into the self-help section.
    • 57 Metascore
    • 50 Scott Tobias
    In spite of his considerable intelligence and cinematic gifts, Pawlikowski isn't Roman Polanski, so the delusions and psychosis of his put-upon lead character doesn't have the right intensity. Fifth feels like a literary bauble, chipped by imperfections.
    • 44 Metascore
    • 50 Scott Tobias
    There's no depth, surprises, or wit to the screenplay, which seems motivated by the sole desire to generate the vilest, most disgusting people and images imaginable.
    • 55 Metascore
    • 50 Scott Tobias
    The formalities of the period dialogue and a wavering, inexplicable accent test him (Tatum) beyond his limits, and the film isn't thoughtful or original enough to survive it.
    • 39 Metascore
    • 50 Scott Tobias
    Contains all the elements of a satisfying teen genre picture, but they've been compromised out of existence.
    • 56 Metascore
    • 50 Scott Tobias
    Escobar: Paradise Lost takes such a limited view of this multi-faceted figure that it fails as portraiture, and the real center of the film is too much of a bland good guy to compensate.
    • 29 Metascore
    • 50 Scott Tobias
    Had it been easier to comprehend at the beginning, there's no telling how bad Premonition might have been.
    • 63 Metascore
    • 50 Scott Tobias
    Farr delves into the sticky issue of parental ambivalence, but he only goes deep enough to carve a small pit in the viewer’s stomach.
    • 65 Metascore
    • 50 Scott Tobias
    There are indications scattered throughout Coco Before Chanel of a major designer quietly and persistently honing her craft, but most of the film could exist without the Chanel name and still smell like the same perfume.
    • 48 Metascore
    • 50 Scott Tobias
    Saw III may be the best of the trilogy; hopefully, it'll encourage its makers to wrap the franchise on a relatively high note.
    • 71 Metascore
    • 50 Scott Tobias
    Rain lays so much portent on every scene that it becomes ungenerous and morally forbidding, as if each bummed cigarette or leisurely cocktail will lead the family that much closer to oblivion. In this case, the punishment is far greater than the crime.
    • 48 Metascore
    • 50 Scott Tobias
    Doesn't have the content to match the form, never cohering into anything more substantial than a glum navel-gazer about a little girl lost, unable to find a permanent home (literally or figuratively) on either side of the Atlantic.
    • 51 Metascore
    • 50 Scott Tobias
    The Predator series needed a shot of vitality, not another workmanlike go-around. SSDP: Same shit, different planet.
    • 46 Metascore
    • 50 Scott Tobias
    Amelio’s latest, Intrepido: A Lonely Hero, reveals the same strengths and weaknesses as his work two decades ago—an appealing sincerity and social awareness, dogged by a mile-wide sentimental streak. In this case, when Intrepido tilts from whimsical comedy to metaphysical drama, it falls right off the cliff.
    • 53 Metascore
    • 50 Scott Tobias
    The sturdy premise delivers little in the way of actual laughs.
    • 57 Metascore
    • 50 Scott Tobias
    Sputtering along on Mac's sleepy improvisations, Mr. 3000 volleys between the dumb, frat-house wackiness of "Major League" and the "Wonder Bat" schmaltz of "The Natural" and "Field Of Dreams," chasing the gags with a lame baseball-as-life message about playing for the right reasons.
    • 33 Metascore
    • 50 Scott Tobias
    In a way, Collateral Damage is redeemed by its implausibility, because the closer it comes to reality, the more disturbing it gets. For once, viewers have reason to be grateful for having their intelligence insulted.
    • 56 Metascore
    • 50 Scott Tobias
    Were it not so committed to telling the official story in bullet points, Race might have found a more provocative angle about athletes and artists who work through and around the powers that be.
    • 26 Metascore
    • 50 Scott Tobias
    It isn't clever. It isn't original. It isn't scary. At best, Skyline is a proficient, forgettable programmer that only occasionally lapses into irredeemably silliness.
    • 50 Metascore
    • 50 Scott Tobias
    Take a cue from Guzmán, who serves as a kind of court jester, bouncing in and out of scenes in a one-man quest to bring levity to the occasion. The movie could stand to have more of his Christmas cheer; instead, it's a recast "Family Stone."
    • 45 Metascore
    • 50 Scott Tobias
    The brain trust responsible in part for last year's "The Cat In The Hat," Eurotrip seems like the result of a particularly half-hearted brainstorming session.
    • 55 Metascore
    • 50 Scott Tobias
    There's a deceptive gravitas to the British vigilante thriller Harry Brown that some are bound to mistake for class--or even truth--in the way it grapples with one man's violent stand against societal decay. Much of that is owed to Michael Caine, an actor of such rare dignity and stature that audiences are naturally willing to follow him anywhere, including into the heart of truly risible material.
    • 51 Metascore
    • 50 Scott Tobias
    The incongruous mix of real locations and stage sets, real voices and overdubs, is a constant distraction, while the choreography lumbers in group numbers and goes flat in more intimate ones.
    • 66 Metascore
    • 50 Scott Tobias
    Huffman intermittently rescues Transamerica from bathos with her brusque wit, swatting away the victimization elements that figure into most films about transsexuals.
    • 34 Metascore
    • 50 Scott Tobias
    What results are surprises without sustenance.
    • 45 Metascore
    • 50 Scott Tobias
    Bay blankets the film in a tone of smug self-awareness that obscures everything but its bald hypocrisy.
    • 44 Metascore
    • 50 Scott Tobias
    Director Carter Smith suffers from another, more common problem: In trying to squeeze every plot point from the book into a 90-minute movie, he failed to capture its chilling essence.
    • 48 Metascore
    • 50 Scott Tobias
    Walter has the case down cold and arrives at suitably ambiguous conclusions about terrors both real and suggested, but he gets there through a mix of dimly lit interviews and ominous underscoring that wouldn’t be out of place on an episode of "Unsolved Mysteries."
    • 46 Metascore
    • 50 Scott Tobias
    Truth be told, Sachiko Hanai is probably an accomplished "pink film"; just don't mistake it for something classier.
    • 52 Metascore
    • 50 Scott Tobias
    Wasteland reveals itself as little more than a bloodless plot engine, but it purrs and hums under the ultra-slick chassis.
    • 49 Metascore
    • 50 Scott Tobias
    Curiously lifeless, Lucky You feels like poker without stakes; it goes through the motions with nothing to play for.
    • 56 Metascore
    • 50 Scott Tobias
    Nakashima does his best to keep the flimsy enterprise afloat, mostly through whooshing camera movements and headlong dives into the grotesque extremes of Japanese kitsch. By the end, the effect is like eating a bellyache's worth of cotton candy.
    • 46 Metascore
    • 50 Scott Tobias
    Embellishments to Neil Simon's original script were inevitable, but when you're adding an "Uncle Tito," you're definitely on the wrong track.
    • 65 Metascore
    • 50 Scott Tobias
    Through The Fire posits Telfair's good fortune as the belated fulfillment of Jamal's dreams and his family's desire to leave the projects, but it rarely gives a thought to the many thousands of gifted inner-city ballers who devote their lives to a goal that never materializes.
    • 55 Metascore
    • 50 Scott Tobias
    The film tries to squeeze Austen into one of her novels, and the peg doesn't fit.
    • 49 Metascore
    • 50 Scott Tobias
    An empty lake, drained of any tangible substance and refilled with wispy, pseudo-poetic metaphor.
    • 71 Metascore
    • 50 Scott Tobias
    Babenco's hard work is undercut by his squarely theatrical notion of realism: Specifically, how did the touring company for "West Side Story" wind up in such an awful spot?
    • 64 Metascore
    • 50 Scott Tobias
    Eastwood's down-the-middle police procedural Blood Work ranks as his least ambitious work in a decade, anonymous save for his iconic screen presence and a tasteful selection of jazz on the soundtrack.
    • 55 Metascore
    • 50 Scott Tobias
    Making his feature debut, director Sacha Gervasi follows up his fine documentary "Anvil: The Story Of Anvil" with another story about the perils of uncompromising creative endeavor, but his Hitchcock goes only a step beyond caricature.
    • 75 Metascore
    • 50 Scott Tobias
    Though an assured and diverting piece of filmmaking, Man On The Train sags from complacency, rarely breaking its neat construction to animate the friendship with any real warmth and life.
    • 47 Metascore
    • 50 Scott Tobias
    Turns into an edited-for-TV version of Sam Peckinpah's "The Wild Bunch"--flat, bloodless, and utterly bereft of period grit.
    • 50 Metascore
    • 50 Scott Tobias
    Looks and sounds like a black comedy, but by the time DeVito reaches the cutesy, nonsensical ending, he's lost the will to follow through on it.
    • 45 Metascore
    • 50 Scott Tobias
    It’s when the small moments become large ones that Feste overreaches and the shaky performances don’t bail her out.
    • 65 Metascore
    • 50 Scott Tobias
    The best possible feeling that 11:14 could leave behind is that Marcks has pulled off something clever, but just bringing the puzzle pieces together isn't that impressive a feat. As "Memento" proves, it's the big picture that really counts.
    • 57 Metascore
    • 50 Scott Tobias
    Amen should be a powderkeg of a movie, yet the urgency and force that defined Costa-Gavras' earlier work has been drained away, along with his invigorating newsreel craft.
    • 59 Metascore
    • 50 Scott Tobias
    Confidence doesn't provide anything substantial to latch on to: Its twists and turns aren't founded on the trust needed to pull them off.
    • 48 Metascore
    • 50 Scott Tobias
    There are no laughs in Solomon Kane; the sole attempt at a joke doesn't score, but it's a bracing reminder that humor exists. Instead, Bassett and Purefoy, his charisma-impaired star, get down to the grim, colorless business of vanquishing evil in a world where it settles like a black fog.
    • 29 Metascore
    • 50 Scott Tobias
    The few effective scenes in The Quiet suggest that the film might have worked as a kinked-up Hitchcockian thriller rather than the drab, serious drama it turns out to be.
    • 62 Metascore
    • 50 Scott Tobias
    A little less earnestness could have done this movie some good.
    • 39 Metascore
    • 50 Scott Tobias
    Working from a novel by Cecelia Ahern, LaGravenese brings some intelligence and maturity to a genre that sorely needs it, but it isn't enough to prop up this long-winded and thoroughly bland romantic comedy.
    • 55 Metascore
    • 50 Scott Tobias
    The accumulation of weird incidents and fake-outs doesn’t lead anywhere productive. That’s the problem with Dupieux’s vacant brand of surrealism: If you just keep pulling out the rug, there will never be anything to stand on.
    • 57 Metascore
    • 50 Scott Tobias
    First-time director Harrison Atkins never quite finds his own distinct voice. He dabbles in horror and deadpan comedy, experiments in discordant jags on the soundtrack, and suggests a more fluid boundary between the living and the dead, but the film remains stubbornly hazy and obscure in its intentions.
    • 70 Metascore
    • 50 Scott Tobias
    In trying to find the decency in a killer, the film anxiously accounts for his every misdeed. It's a little like watching "City Of God" morph into "Three Men And A Baby."
    • 58 Metascore
    • 50 Scott Tobias
    Long on inspiration, short on specifics.
    • 61 Metascore
    • 50 Scott Tobias
    Here's a man who's doing to environmental science what the Atkins Diet did to weight loss, and Timoner isn't looking for anyone to call his conclusions into question? Nonsense.
    • 56 Metascore
    • 50 Scott Tobias
    Neeson’s innate dignity can often serve as a gravitational force for movies this ludicrous, but in a cabin filled with so much flying debris, he is but an ineffectual paperweight.
    • 45 Metascore
    • 50 Scott Tobias
    Feels tentative and weak whenever it isn't simply baldly derivative. It's old-fashioned to the point of ossification.
    • 54 Metascore
    • 50 Scott Tobias
    The music isn't much of a relief either, mostly because Young keeps cutting away from the performances.
    • 38 Metascore
    • 50 Scott Tobias
    When it comes time for the actual robbery, so little has been explained that the plan seems ridiculously easy in some respects and totally improbable in others.
    • 78 Metascore
    • 50 Scott Tobias
    Without the landscape or the heroine expressing themselves particularly sharply, Tracks is just a taciturn young woman wandering through the desert for months. In other words, a slog.
    • 46 Metascore
    • 50 Scott Tobias
    On record and in her movies, Moore is sold as wholesome and real, which sometimes translates as generic and blah, in spite of her genuine appeal and accessibility.
    • 70 Metascore
    • 50 Scott Tobias
    Though thirteen too often mistakes hard realism for overheated spectacle, the heightened drama brings out the best in Wood and Hunter, who turn their climactic scene into an actors' workshop, charged with raw emotion. As the film barrels toward the outrageously histrionic, they nearly pull it back from the brink.
    • 64 Metascore
    • 50 Scott Tobias
    The Pursuit Of Happyness represents a belated and calculated attempt to scrape off the glossy movie-star veneer and connect with the everyday struggles of living hand-to-mouth in the big city, but it's too late. Watching his (Smith's) performance here is a little like imagining an American version of "Rosetta" starring Julia Roberts.
    • 44 Metascore
    • 50 Scott Tobias
    Drive Angry feels like a five-minute Comic Con show reel that's been expanded beyond its limits. It's agonizingly cool.
    • 51 Metascore
    • 50 Scott Tobias
    There’s nothing remotely fresh about this revival, but tight pacing and an overqualified cast keep things zipping along nicely.
    • 46 Metascore
    • 50 Scott Tobias
    Shapeless and overlong, How Do You Know unfolds in a heap of unprocessed ideas and emotions, as if Brooks started production two or three drafts too early.
    • 38 Metascore
    • 50 Scott Tobias
    Swimming in computer-enhanced mayhem and a non-stop hip-hop-and-techno soundtrack, Blade: Trinity might as well come equipped with joysticks attached to the seats, so everyone can play along.
    • 64 Metascore
    • 50 Scott Tobias
    The story they get may be heartfelt and inspiring, but all that powerful sentiment doesn't make it any more complete.
    • 71 Metascore
    • 50 Scott Tobias
    Unsurprising tribute to the sweetness of rural dwellers.
    • 31 Metascore
    • 50 Scott Tobias
    The dynamic between Jackman and McGregor bears an uncanny resemblance to that of Aaron Eckhart and Matt Malloy from "In The Company Of Men": the cool, suave, experienced philosopher of excess and his weaker, more earnest pupil.
    • 62 Metascore
    • 50 Scott Tobias
    Documentaries like Stolen Childhoods present an uncomfortable dilemma for anyone who cares how movies are made: They have virtually no aesthetic value, but compensate with unimpeachable social worth.
    • 46 Metascore
    • 50 Scott Tobias
    The film doesn't seem to know how it feels, much less how others are supposed to feel about it.
    • 57 Metascore
    • 50 Scott Tobias
    At best, The Forbidden Kingdom counts as an amiable time-waster for kids, but much more should be expected from the momentous union of two kung-fu titans.
    • 85 Metascore
    • 50 Scott Tobias
    The film's visceral assault extends to the sledgehammer script, an amassment of unsubtle ironies and war-is-hell clichés that often reduce it to an amateurish theatrical stunt.
    • 43 Metascore
    • 50 Scott Tobias
    The result is a middling Frankenstein-like hybrid of spectral mayhem and murder mystery, constructed entirely out of borrowed parts.
    • 76 Metascore
    • 50 Scott Tobias
    The scattered insights in This So-Called Disaster aren't worth the sifting it takes to find them.
    • 48 Metascore
    • 50 Scott Tobias
    Shooting in digital video, director Jeff Renfroe needlessly amps up the proceedings with jittery camerawork, jump cuts, and other technical hiccups meant to disorient the audience.
    • tbd Metascore
    • 50 Scott Tobias
    None of Jack’s relationships are handled with enough conviction to make them stick, and that carries over to a religious message that’s squishy in the extreme. “Agreeable” is a good quality, but it should never be the best quality a film possesses.
    • 53 Metascore
    • 50 Scott Tobias
    The silver lining: Like its predecessor, The Amazing Spider-Man 2 offers its successor another fresh start, since no one will remember what happened in this movie, either.
    • 55 Metascore
    • 50 Scott Tobias
    the film thrums with an urgency that’s both asset and liability, at once invested with deep feeling and undone by a barrage of flashbacks, allusions, and counterintuitive bits of wisdom.
    • 66 Metascore
    • 50 Scott Tobias
    Perhaps the film will connect with those attuned to the Quays' allusive wavelength, much as a dog responds to a whistle. Others won't hear a thing.
    • 64 Metascore
    • 50 Scott Tobias
    Much like Zwick's "Glory" and "The Last Samurai," Blood Diamond strives to be an "important" film while stopping well short of being genuinely provocative and artistically chancy.
    • 64 Metascore
    • 50 Scott Tobias
    Has a clean, antiseptic chilliness reminiscent of a Kubrick film. But too often, the director's stark visuals underline the naked simplicity of his story and make his picture of the suburbs seem hopelessly generic.
    • 52 Metascore
    • 50 Scott Tobias
    Doesn't possess the discipline to peel laughs off its potentially riotous premise. Instead, Segal and company grope desperately for every low gag they can find, whether or not it has anything to do with the story.
    • 66 Metascore
    • 50 Scott Tobias
    Disappointing.
    • 45 Metascore
    • 50 Scott Tobias
    At once too real for escapism and too ridiculous for a credible espionage thriller, The Sum Of All Fears unfolds like a cruel joke and treats imagined human tragedy as the punchline.
    • 36 Metascore
    • 50 Scott Tobias
    Slips into the no-man's land between screwball and melodrama, squandering both the comic opportunities of an irrational search for drugs and the raw desperation of a piano prodigy who's held captive by his mother's dysfunction.
    • 64 Metascore
    • 50 Scott Tobias
    Quartet falls into the common actor-turned-director trap of valuing the performances of fellow actors over all other aesthetic concerns.
    • 65 Metascore
    • 50 Scott Tobias
    An awkward marriage of fairy-tale and social realism.
    • 36 Metascore
    • 50 Scott Tobias
    Casual moviegoers looking for a bubbly romantic comedy with Brittany Murphy will get more than they bargained for in Little Black Book, which builds to a nasty twist that's more Lars von Trier than Meg Ryan.
    • 57 Metascore
    • 50 Scott Tobias
    Nearly everything good about Bad Words plays off the yin-and-yang dynamic between Guy and Chaitanya—one an endless wellspring of belligerence, the other grinning, excitable, and impossible to rattle.
    • 51 Metascore
    • 50 Scott Tobias
    All that unsavory business aside, the biggest problem with the third act is how the film discards the novelty of its own premise in order to bring its star into the action. When Berry trades her headset for a rock, it’s the bluntest metaphor imaginable for a film that’s completely lost its mind.
    • 36 Metascore
    • 50 Scott Tobias
    Complain all you want about the affable slobs in Judd Apatow comedies; at least they're not tools.
    • 30 Metascore
    • 50 Scott Tobias
    The film is overstuffed, but it’s swift and unpretentious, barreling through a non-stop series of action setpieces without pausing too long to take a breath. The busyness doesn’t eradicate the clichés, much less enrich the film emotionally or thematically, but there’s no time to think about them when Bodrov and his screenwriters, Charles Leavitt and Steven Knight, are moving along to the next sensation. It’s transporting in that sense, and that sense alone.
    • 50 Metascore
    • 50 Scott Tobias
    As with "Women In Trouble," Gutierrez unveils a series of loosely connected characters and subplots that concern players in and around the porn industry, but the intended colorful irreverence looks a lot like standard indie quirk.
    • 58 Metascore
    • 50 Scott Tobias
    The fact that the story makes sense at all remains Coppola and his butchers' sole achievement.
    • 33 Metascore
    • 50 Scott Tobias
    The remake simply replaces the laughably dated horror tropes of the 1979 version with a commercial-slick J-horror aesthetic that's sure to look just as silly to audiences in another 15 years.
    • 65 Metascore
    • 50 Scott Tobias
    Bier allows her film to be buried by its own overwrought ambition.
    • 74 Metascore
    • 50 Scott Tobias
    When pinned mostly in the man's bedroom, Amenábar's flashier instincts are stifled by a bolted camera and a procession of issue-of-the-week clichés.
    • 55 Metascore
    • 50 Scott Tobias
    With a cast this stacked, the performances are predictably strong (particularly from Sarsgaard, whose slow-burning role recalls his work in Shattered Glass), but the first impression they make is the same as the last.
    • 48 Metascore
    • 50 Scott Tobias
    The big musical setpiece, rife with possibilities for humor and uplift, needed to be funnier and more energetic than the half-hearted lyrics and choreography bother to muster.
    • 56 Metascore
    • 50 Scott Tobias
    The lone standout is Linney's performance as the deranged neighbor, whose erratic combination of sexual desperation and extreme vulnerability keeps the film on life support.
    • 57 Metascore
    • 50 Scott Tobias
    Fantasy sequences in which Yu and his friends are thrown into the world of a '70s kung-fu film or melodrama seem like a clever way to evoke the period and bring their story to another plane, but they just end up looking cheesy, spoiled by half-executed effects. "Goodbye, Dragon Inn" this ain't.
    • 48 Metascore
    • 50 Scott Tobias
    Rather than cast actors who can't dance or dancers who can't act, Step Up splits the difference with stars Channing Tatum and Jenna Dewan, who pull double duty with uninspired competence.
    • 42 Metascore
    • 50 Scott Tobias
    Lawrence is fortunate to have appealing pros like Grant and Bullock around to bail him out with romantic chemistry and enough crisply delivered one-liners to survive the barren stretches of script.
    • 47 Metascore
    • 50 Scott Tobias
    Part of the problem is Mark Ruffalo, whose tortured sensitivity in "You Can Count On Me" and "We Don't Live Here Anymore" made him seem like Marlon Brando's heir apparent, not Will Smith's.
    • 53 Metascore
    • 50 Scott Tobias
    But coming on the heels of "Red Eye," which is nothing if not an efficient thrill machine, Flightplan can only look conspicuously flat by comparison.
    • 57 Metascore
    • 50 Scott Tobias
    Asks for sympathy for deplorable behavior.
    • 39 Metascore
    • 50 Scott Tobias
    Everyone’s there to get the job done, Dolph Lundgren style, meaning Skin Trade is a throwback to the one-man-army actioners of the ’80s, sprinkled with updated stats on human trafficking. If the film happens to raise awareness, then that’s more bonus than objective.
    • 47 Metascore
    • 50 Scott Tobias
    It's a tribute to the film's goofy, inconsequential charm that it's still possible to laugh as someone sneaks a bomb past airport security.
    • 55 Metascore
    • 50 Scott Tobias
    Embers offers a series of compelling premises and never follows through on them, content to drift along on its characters’ dull malaise and allow self-conscious visual poetry to stand in for real emotion.
    • 55 Metascore
    • 50 Scott Tobias
    The film has the visceral kick of brainiacs willing each other into bloody oblivion, but struggles to justify its own stock mayhem, much less plumb Cronenbergian depths.
    • 45 Metascore
    • 50 Scott Tobias
    Madea's Family Reunion represents an advance on Diary, if only because it dials down Madea's shtick (she no longer waves a gun around) and irons out some of those awkward tonal transitions. The chance that Perry's followers will leave disappointed is approximately 0 percent.
    • 66 Metascore
    • 50 Scott Tobias
    Working with non-professional actors, Seidl emphasizes their ordinariness to the point of cartoonish ridicule, putting them in scenarios either banal, perverse, or both at the same time.
    • 46 Metascore
    • 50 Scott Tobias
    Part courtroom drama, part otherworldly shocker, the film basically restages the Scopes Monkey Trial and comes out once more against Mr. Darrow, and it's got the spine-twisting, tongues-speaking, devil-channeling hellion to prove it.
    • 37 Metascore
    • 50 Scott Tobias
    The film is memorable mainly for attractive people sailing and smooching against an attractive backdrop. There's no urgency behind all the preening.
    • 46 Metascore
    • 50 Scott Tobias
    Generally speaking, the more obscure the fetish, the worse the subplot gets, though they all wear out their one-joke welcome before Lawson inevitably turns up the sentiment and makes the film about love and kids and happy unions.
    • 72 Metascore
    • 50 Scott Tobias
    Despite a handsome production and two genuinely brilliant lead performances, The Theory Of Everything stumbles into virtually every pitfall that afflicts biopics about geniuses.
    • 50 Metascore
    • 50 Scott Tobias
    The film suffers for her (Brenda Blethyn) egocentrism.
    • 58 Metascore
    • 50 Scott Tobias
    Easy Virtue needs a strong center to justify its celebration of American effrontery, and Biel lacks that prideful edge.
    • 61 Metascore
    • 50 Scott Tobias
    Without any glimmers of depth or subtext.
    • 71 Metascore
    • 50 Scott Tobias
    Just because the live-action Seusses have dialed down expectations doesn't mean that Horton shouldn't aspire to more than time-wasting mediocrity. There are precious childhoods at stake here.
    • 51 Metascore
    • 50 Scott Tobias
    Though the pacing is lumpy, to say the least, Blackhat occasionally bursts to life when Mann breaks out one of his signature action setpieces, which have the distinct pop of heavy artillery and the immediacy of video.

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