For 1,380 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 1.4 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
Average review score: 60
Highest review score: 100 Zodiac
Lowest review score: 0 Atlas Shrugged: Part 2
Score distribution:
1,380 movie reviews
    • 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.
    • 56 Metascore
    • 50 Scott Tobias
    Too often, Saints And Soldiers confuses bravery for faith.
    • 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.
    • 64 Metascore
    • 50 Scott Tobias
    But save for the mesmerizing final tracking shot, Bright Future just mopes around aimlessly, hoping that its vague themes will eventually congeal into something profound.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 50 Scott Tobias
    Pleasing low-key comedy.
    • 40 Metascore
    • 50 Scott Tobias
    At times approaches the flavor and shapelessness of real life.
    • 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.
    • 71 Metascore
    • 50 Scott Tobias
    Unsurprising tribute to the sweetness of rural dwellers.
    • 72 Metascore
    • 50 Scott Tobias
    By the end, even Goodman seems to have lost interest.
    • 31 Metascore
    • 50 Scott Tobias
    Though Craven shows flashes of the old magic, Cursed eventually settles into rote, uninspired horror fare, hog-tied to the Williamson formula all the way to arbitrary finish. The film may be one of the best ever not screened in advance for critics, but that still doesn't put it in the finest company.
    • 44 Metascore
    • 50 Scott Tobias
    By the time the film escalates into a suitably ridiculous Grand Guignol finale, all connection to reality has been severed.
    • 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."
    • 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.
    • 43 Metascore
    • 50 Scott Tobias
    Madison couldn't be more wholesome if they served it with a tall glass of fresh milk.
    • 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.
    • 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.
    • 46 Metascore
    • 50 Scott Tobias
    The dialogue and the movie seem as canned as a Must-See TV laugh track.
    • 35 Metascore
    • 50 Scott Tobias
    A sort of retarded "Top Gun," Rob Cohen's Stealth revisits the world of cocky fighter pilots and war games turned real, but it has some serious moral quandaries on the brain, and too much thinking gets it into trouble.
    • 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.
    • tbd Metascore
    • 50 Scott Tobias
    Working under a limited budget, Catania stirs up a thick gothic atmosphere and delivers the goods with a certain amount of proficiency, but when professionalism is the best thing a film has going for it, there isn't much else to discuss.
    • 69 Metascore
    • 50 Scott Tobias
    The trouble with artists making documentaries about other artists is that art tends to get in the way.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Scott Tobias
    A little less earnestness could have done this movie some good.
    • 34 Metascore
    • 50 Scott Tobias
    If he (The Rock) can keep those wandering eyebrows in check, his future as an action hero appears unlimited--that is, provided he can resist taking roles in movies like this one.
    • 57 Metascore
    • 50 Scott Tobias
    Having a Rutgers psychology professor comment on Fischer's general symptoms is downright amateurish. In a documentary about a living subject, conclusions are better drawn through rigorous observation, not explained away in some tidy pop-psychological portraiture.
    • 31 Metascore
    • 50 Scott Tobias
    At the center of the movie, Tsimitselis makes for a disappointing blank, a pretty poster boy who leaves a long trail of emotional wreckage in his wake.
    • 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.
    • 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?
    • 55 Metascore
    • 50 Scott Tobias
    Roth gets the notes right while missing the music: He studiously replicates Miike's unblinking depiction of torture, but without much reflection or wit. It's merely unpleasant and more than a little dumb.
    • 58 Metascore
    • 50 Scott Tobias
    Glory Road treats history as if it were a 7th-grade social-studies text laid out in a 16-point font, getting the basics right without trying to evoke any of the details that would make it memorable. In other words, it gets the Bruckheimer treatment.
    • 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.
    • 43 Metascore
    • 50 Scott Tobias
    Only Edie Falco, appearing as a bereft mother leading a citizen's group that searches for missing children, suggests the great film that Freedomland might have been.
    • 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."
    • 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.
    • 41 Metascore
    • 50 Scott Tobias
    The ugliness on display in Running Scared has neither "Sin City's" context nor its wit, and it offers little more than stylish excess for its own sake, with no clear aspirations other than to twist people's arms until they yelp "Uncle."
    • 55 Metascore
    • 50 Scott Tobias
    It's a beautiful mess, but it's a mess all the same.
    • 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.
    • 40 Metascore
    • 50 Scott Tobias
    The Sisters is still somewhat compelling thanks to Bello, whose unguarded, provocative work continually resuscitates this corpse of a melodrama whenever it lays fallow.
    • 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.
    • 46 Metascore
    • 50 Scott Tobias
    The racing sequences are the series' meat and potatoes, but in terms of story, Tokyo Drift barely offers a stalk of asparagus.
    • 45 Metascore
    • 50 Scott Tobias
    Charlie Kaufman could have made a great movie out of Click, a soupy existential comedy about a "universal remote" that lets a man magically rewind, fast-forward, and pause his life.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 47 Metascore
    • 50 Scott Tobias
    Though he invests every ounce of his considerable charisma in the lead role, Russell Crowe still comes across as a man unworthy of the paradise offered to him.
    • 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
    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.
    • 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.
    • 53 Metascore
    • 50 Scott Tobias
    All the bright colors Cassavetes splashes on the canvas don't make Alpha Dog art.
    • 26 Metascore
    • 50 Scott Tobias
    Any relationship between the world of Because I Said So and actual human behavior is purely coincidental.
    • 34 Metascore
    • 50 Scott Tobias
    The Messengers, dutifully cobbles together a pastiche of successful horror films past--"The Grudge," "The Sixth Sense," "The Birds," "The Amityville Horror," and "The Shining"--without asserting a single original idea of its own.
    • 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.
    • 29 Metascore
    • 50 Scott Tobias
    Had it been easier to comprehend at the beginning, there's no telling how bad Premonition might have been.
    • 49 Metascore
    • 50 Scott Tobias
    Curiously lifeless, Lucky You feels like poker without stakes; it goes through the motions with nothing to play for.
    • 34 Metascore
    • 50 Scott Tobias
    What results are surprises without sustenance.
    • 46 Metascore
    • 50 Scott Tobias
    Truth be told, Sachiko Hanai is probably an accomplished "pink film"; just don't mistake it for something classier.
    • 36 Metascore
    • 50 Scott Tobias
    The film disappoints on its own terms, failing to drum up any sympathy for a self-pitying rich kid who can't pry his eyes from his navel.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Scott Tobias
    In the end, 1408 amounts to little more than a radical shock-therapy session for a man still finding his way after the loss of his daughter.
    • 50 Metascore
    • 50 Scott Tobias
    The film suffers for her (Brenda Blethyn) egocentrism.
    • 55 Metascore
    • 50 Scott Tobias
    The film tries to squeeze Austen into one of her novels, and the peg doesn't fit.
    • 54 Metascore
    • 50 Scott Tobias
    Watching Charlie Bartlett only makes Wes Anderson's work seem more accomplished by comparison, because it underscores that thin line separating the agreeably fanciful from the overbearingly precious.
    • 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.
    • 56 Metascore
    • 50 Scott Tobias
    The heroes of Peter Berg's gung-ho retribution tale are fighting the terrorists over there so we don't have to fight them here, but his film is indulging in a queasy brand of escapism. Winning imaginary wars isn't the same as winning real ones, but The Kingdom nonetheless smells like victory.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Scott Tobias
    In spite of the title, there's nothing particularly "real" about Lars And The Real Girl, just a couple layers of quirk several stops removed from the world as we know it.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 50 Scott Tobias
    Borderline-experimental in the way it challenges the limits of perception. It's forward-thinking, visionary, and much of the time unwatchable.
    • 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.
    • 36 Metascore
    • 50 Scott Tobias
    Complain all you want about the affable slobs in Judd Apatow comedies; at least they're not tools.
    • 47 Metascore
    • 50 Scott Tobias
    The one appealing aspect of Before The Rains is that there are no villains, just three characters who are driven first by shared desires, then by a natural impulse for self-preservation that brings them into conflict.
    • 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.
    • 51 Metascore
    • 50 Scott Tobias
    This is a loud, ugly, foul comedy whose shortcomings extends far into the supporting cast.
    • 54 Metascore
    • 50 Scott Tobias
    The music isn't much of a relief either, mostly because Young keeps cutting away from the performances.
    • 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.
    • 58 Metascore
    • 50 Scott Tobias
    Long on inspiration, short on specifics.
    • 57 Metascore
    • 50 Scott Tobias
    From its title on down, Towelhead alarms and manipulates, and succeeds in goading the audience like a schoolyard bully, but apart from Bishil's harrowing attempts to find herself, the strings stay too visible.
    • 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."
    • 53 Metascore
    • 50 Scott Tobias
    Could not be more ordinary.
    • 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.
    • 47 Metascore
    • 50 Scott Tobias
    The big names don't do needy as well as "Big Love's" Ginnifer Goodwin.
    • 52 Metascore
    • 50 Scott Tobias
    Director Andy Fickman, who previously blanded Johnson up in "The Game Plan," has fashioned the film into a one-size-fits-all, action-packed special-effects extravaganza for the whole family.
    • 34 Metascore
    • 50 Scott Tobias
    At least Douglas has a good time bringing the smarminess that McConaughey so studiously avoids.
    • 58 Metascore
    • 50 Scott Tobias
    Easy Virtue needs a strong center to justify its celebration of American effrontery, and Biel lacks that prideful edge.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Scott Tobias
    Broderick’s tendency to hang all his problems on corporate greed and heartless bureaucracy leads to some strange missteps.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Scott Tobias
    Spinning a handsome Disney adventure out of a videogame is a testament to Bruckheimer’s commercial savvy. The fact that it still isn’t particularly good seems beside the point.
    • 51 Metascore
    • 50 Scott Tobias
    With her (Latifah), Just Wright feels hampered by arbitrary contrivances; without her, it wouldn't be enough movie to exist at all.
    • 63 Metascore
    • 50 Scott Tobias
    If anything, blame the kids: They’re all adorable, roly-poly delights, but the first year of life has its natural limitations.
    • 66 Metascore
    • 50 Scott Tobias
    Loach becomes his own pale imitator with Looking For Eric, a wispy little comedy that uses fantasy to gloss over even the darkest and most intractable problems.
    • 51 Metascore
    • 50 Scott Tobias
    The Predator series needed a shot of vitality, not another workmanlike go-around. SSDP: Same shit, different planet.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Scott Tobias
    The sequel, Diary Of A Wimpy Kid: Rodrick Rules, isn't motivated to change the formula in the least, but it's ever-so-slightly more palatable, if only for being less of a total spazz.
    • 50 Metascore
    • 50 Scott Tobias
    It's just another gangster movie for the pile.
    • 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.
    • 65 Metascore
    • 50 Scott Tobias
    Bier allows her film to be buried by its own overwrought ambition.
    • 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.
    • 64 Metascore
    • 50 Scott Tobias
    The overall mood of Conan O'Brien Can't Stop is curdled and sour. It leaves the feeling that the next chapter can't come soon enough.
    • 26 Metascore
    • 50 Scott Tobias
    The farce withers away when it should be expanding.
    • 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.
    • 41 Metascore
    • 50 Scott Tobias
    The film is mostly an excuse to do a pregnancy-themed "Love Actually," an overblown symphony of birthing stories that reaches its crescendo in the maternity ward.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Scott Tobias
    There aren't many laughs in this vaudevillian gambit, and fewer still in the fish-out-of-water comedy of Madea hosting a rich white family that's chiefly concerned with yoga, wi-fi, and their carb intakes. Still, Perry remains a true outsider artist-nobody makes movies like his. (And please don't try.)
    • 57 Metascore
    • 50 Scott Tobias
    The documentary Sushi: The Global Catch tries to be two things at once: an international survey of the way sushi is marketed, prepared, and consumed, and an argument for sustainability, particularly with regard to the bluefin tuna population. These threads are related, but one nonetheless takes away from the other.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Scott Tobias
    No one seems to recognize the irony of making a film about corporate rigging that is itself outrageously rigged.
    • 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.
    • 57 Metascore
    • 50 Scott Tobias
    The entire story hinges on a thinly calibrated twist ending that’s meant to provide emotional weight to Karpovsky’s actions, but instead clarifies them to the point of utter banality. There’s no mystery left to linger.
    • 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.
    • 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.
    • 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."
    • 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.
    • 41 Metascore
    • 50 Scott Tobias
    At times, G.I. Joe: Retaliation has a sense of its own ridiculousness — Pryce seems to be having a good time, anyway — but not enough to soften the mass death, hardware fetishism, and militaristic zeal that gets in the way of its escapist fun.
    • 49 Metascore
    • 50 Scott Tobias
    By showing up and not embarrassing itself too much, the film far exceeds the standards established by the likes of the Shelley Long/Corbin Bernsen team-up "Frozen Assets" and 2012’s dire sperm-heist comedy "The Babymakers."
    • 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.
    • 51 Metascore
    • 50 Scott Tobias
    It’s a slickly packaged, proficient thriller first, political statement a distant, speck-on-the-horizon second.
    • 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.
    • 36 Metascore
    • 50 Scott Tobias
    The best parts of Runner Runner feel like a Rounders facsimile—right down to the metaphor-heavy narration—and the worst seem like a case of mission drift, as if the filmmakers set out to make a behind-the-curtain thriller about online gambling, but got hung up in paying off the plot.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Scott Tobias
    The shocks are no less effective than the ones in the other Paranormal Activity movies, but no more original, either, with only the whipping of a handheld camera to set it apart from the offscreen gamesmanship that’s long been the series’ stock in trade.
    • 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.
    • 56 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.
    • 37 Metascore
    • 42 Scott Tobias
    At a time when movies, even from Hollywood, are finally turning their eyes to conflicts abroad, Annapolis seems conspicuously myopic and reactionary in its denial of the world outside campus, though a movie this formulaic wouldn't pass muster during peacetime, either.
    • 36 Metascore
    • 42 Scott Tobias
    While it's a pleasure to watch the likeable Johnson open up and come out of her shell, Phat Girlz belongs to Mo'Nique, a grating, belligerent woman who alternates self-deprecating fat jokes with drama-queen meltdowns and simpering pleas for acceptance. Save it for the talk-show circuit, please.
    • 30 Metascore
    • 42 Scott Tobias
    Recommended to those who feel "The Crucible" doesn't feature enough bodies ripped in half vertically. Others are duly warned.
    • 40 Metascore
    • 42 Scott Tobias
    The "What The Bleep Do We Know?" crowd may well receive the film's wisdom like communion, but the rest of us are free to gag when Salva tries to jam it down our throats.
    • 43 Metascore
    • 42 Scott Tobias
    Trust The Man presents itself as a funny, insightful Manhattan relationship comedy in Woody Allen mode, but morphs into the phoniest of Hollywood rom-coms.
    • 43 Metascore
    • 42 Scott Tobias
    Gulager shows that he truly is PGL's most gifted alumnus.
    • 21 Metascore
    • 42 Scott Tobias
    Penn, who probably didn't need this shoddy placeholder after the cult success of "Harold & Kumar Go To White Castle's," acquits himself with a gentle charisma that makes the crudity go down easy. Granted, it's still s---, but with a sweeter odor than usual.
    • 36 Metascore
    • 42 Scott Tobias
    Once the torture finally commences, the film attempts to float a political point about the Third World taking back First World health-care privileges, but the chief torturers' sadistic humanitarianism is never seriously considered.
    • 31 Metascore
    • 42 Scott Tobias
    Far from a watershed moment for lesbian coming-out films, Gray Matters has a queer sensibility that's several miles south of "Will & Grace."
    • 53 Metascore
    • 42 Scott Tobias
    Fuqua keeps the action moving efficiently, but he doesn't know when to stop piling it on, and eventually, Wahlberg's army of one becomes more a comic-book vigilante than a righteously disgruntled patriot.
    • 43 Metascore
    • 42 Scott Tobias
    The lesson here is that dogs don't need "attitude." They're loveable enough on their own.
    • 50 Metascore
    • 42 Scott Tobias
    What started out as a fleet one-off swashbuckler with novel supernatural elements has become loaded and graceless, with each new entry barreling across the goal line like William "The Refrigerator" Perry.
    • 54 Metascore
    • 42 Scott Tobias
    In short form, Cashback simply dealt with how a quirky group of supermarket employees whiled away the endless hours of a night shift, but the feature version spoils that economy by tacking on a romantic subplot and indulging its hero's precious ruminations on love and art.
    • 37 Metascore
    • 42 Scott Tobias
    If it doesn't look ridiculous now, try watching it again in a decade or three. Then it'll be funny for all the wrong reasons.
    • 45 Metascore
    • 42 Scott Tobias
    Judging by the far more interesting adults in the film--Braga, a terrific Laura Linney as Webber's mother, and Hawke as his father--the solution for Webber and Moreno is to grow up and not be so full of themselves. In their current state, they make for unpleasant company, and so does the film.
    • 40 Metascore
    • 42 Scott Tobias
    For a film about growing up, Illegal Tender loses itself in a lot of silly juvenilia.
    • 51 Metascore
    • 42 Scott Tobias
    It's a personal story that feels like it's been constructed from other movies.
    • 25 Metascore
    • 42 Scott Tobias
    Adhering to few solid comedic principles, The Comebacks swings wildly between lame movie references and slapstick, slightly less lame funny names (such as Aseel Tare, the running back who couldn't possibly be injured) and Airplane!-style spoof, and a few mildly amusing stabs at irony.
    • 43 Metascore
    • 42 Scott Tobias
    All these stereotypes are meant to exalt small-town values, but The Final Season is proof that it's hard to paint masterpiece in broad strokes.
    • 48 Metascore
    • 42 Scott Tobias
    The idea of a toy store as a living, responsive being is a good one, but Helm doesn't take that idea to imaginative places.
    • 24 Metascore
    • 42 Scott Tobias
    On the shortlist for least essential movie of the decade, a copy of a copy of a copy that's so worn down, it's about as fresh and vital as a fifth-generation dub of "The Star Wars Holiday Special."
    • 30 Metascore
    • 42 Scott Tobias
    It's said that opposites attract, but for the brief period they're onscreen together in the dire comedy Over Her Dead Body, Eva Longoria Parker and Paul Rudd are one of the more bizarrely mismatched couples in recent memory.
    • 40 Metascore
    • 42 Scott Tobias
    The loaded cast does what it can with the paper-thin characterizations, but Vantage Point gets hijacked early by its high-concept premise, and it quickly devolves into a by-the-numbers thriller with the numbers out of order.
    • 37 Metascore
    • 42 Scott Tobias
    The photography hook gives Shutter the potential to be a genuinely creepy ghosts-in-the-machine story like the original "Pulse," or better still, a horror twist on "Blowup." But one effective scene lit solely by a camera flash isn't enough to rescue this from the J-horror slushpile.
    • 48 Metascore
    • 42 Scott Tobias
    21
    Short of counting the cards out loud, these geniuses seem to do everything they can to get caught.
    • 44 Metascore
    • 42 Scott Tobias
    The big reason Chaos Theory doesn't work is that the gears are visibly grinding away, cranking out neat little ironies and life lessons without any liberating surprises.
    • 54 Metascore
    • 42 Scott Tobias
    There are many stretches when it's easy to forget that Get Smart is a spoof; it's more like a third-rate James Bond with pratfalls.
    • 52 Metascore
    • 42 Scott Tobias
    Compared to a recent Argento dud like "The Stendhal Syndrome," Mother Of Tears at least has some of the go-for-broke gothic spirit of his earlier work. He's just lost the ability to shape it into something artful.
    • 63 Metascore
    • 42 Scott Tobias
    By the time it reaches an action-packed finale that's choreographed like an ancient Keystone Kops short, Kit Kittredge has cornered the market on bland.
    • 47 Metascore
    • 42 Scott Tobias
    Ultimately, Lakeview Terrace isn't about race so much as it's about being a man, which has been LaBute's fallback theme from the start.
    • 31 Metascore
    • 42 Scott Tobias
    In a post-Matrix, post-John Woo world, a handful of slow-motion shootouts shouldn't be all that's on offer.
    • 41 Metascore
    • 42 Scott Tobias
    The result is two bad movies in one: a gimmicky romantic comedy, and one of those seasonal headaches that submits loud family dysfunction as a vehicle for Christmas cheer.
    • 38 Metascore
    • 42 Scott Tobias
    The main pitfall of modern noirs is that filmmakers get so caught up in the chiaroscuro lighting schemes and florid twists of dialogue and voiceover that they forget noir was about expressing more than just attitude and style.
    • 44 Metascore
    • 42 Scott Tobias
    A more accurate way to describe it would be "conceptual nightmare"--crass, schizophrenic, culturally insensitive, horribly paced, and shameless in its pandering to the lowest common denominator.
    • 50 Metascore
    • 42 Scott Tobias
    Taken's subject matter is too serious for an escapist chop-socky movie, and the sleazy, exploitative tone undercuts the thrills.
    • 26 Metascore
    • 42 Scott Tobias
    Unlike, say, "Eagle Eye," Echelon Conspiracy doesn't put enough conviction behind its stupidity. It's mostly just bland.
    • 41 Metascore
    • 42 Scott Tobias
    The film’s biggest problem, beyond the overheated melodrama and paper-thin period trappings, is that the trio's fictionalized dalliances diminish their real art.
    • 51 Metascore
    • 42 Scott Tobias
    It would take a heart of stone not to be affected by My Sister’s Keeper, but the film’s unceasing manipulation has a Medusa effect on the organ.
    • 50 Metascore
    • 42 Scott Tobias
    It lacks that extra layer or two to make it interesting. The script and direction is all bones, no flesh.
    • 28 Metascore
    • 42 Scott Tobias
    Every scrap of footage here has been done better somewhere else.
    • 29 Metascore
    • 42 Scott Tobias
    For his directorial debut, The Collector, Dunstan streamlines the "Saw" concept slightly by silencing the killer and focusing more intently on a house that’s been converted into a jury-rigged deathtrap.
    • 30 Metascore
    • 42 Scott Tobias
    Because Saw does nothing to alter the look, tone, and engineered gimmickry from one movie to the next, it keeps going deeper into backstory and character arcs than horror series past, as if this ugly, cheap-looking schlock were somehow "The Lord Of The Rings."
    • 34 Metascore
    • 42 Scott Tobias
    Terminally awkward in the way it meshes fake real footage with faker fake footage. It isn’t required to be convincing as fact, but it doesn’t convince as fiction, either.
    • 45 Metascore
    • 42 Scott Tobias
    The leads are immensely appealing, but the sum of their experiences equals nothing more profound than two earnest people wrestling with a tough decision.
    • 27 Metascore
    • 42 Scott Tobias
    Chan’s anything-goes affability keeps the film from scraping bottom.
    • 40 Metascore
    • 42 Scott Tobias
    The major problem with Pattinson’s ascendancy to the Dean throne: His soulfulness is a pose, an effect achieved more by hair and makeup (and yes, genetics) than the scenes where he’s required to emote at high volume.
    • 36 Metascore
    • 42 Scott Tobias
    Caught in a pretentious no-man’s land between horror and melodrama.
    • 23 Metascore
    • 42 Scott Tobias
    While Fraser’s presence doesn’t necessarily elevate Furry Vengeance into something better than the dumb, lowbrow timewaster it aspires to be, Fraser does make it a little easier to digest.
    • 46 Metascore
    • 42 Scott Tobias
    Cruise is thrown into many sticky situations, with legions of trained assassins surrounding him on all sides, but he never once suggests that things aren’t entirely under control. It’s profoundly boring to watch a hero without weaknesses; after all, even Superman has Kryptonite.
    • 51 Metascore
    • 42 Scott Tobias
    Like the worst of late-period Allen, the film recycles character types from his previous work without inventing new reasons to summon them into existence. They're left stranded, seven characters in search of an author.
    • 28 Metascore
    • 42 Scott Tobias
    A strange, stilted, misbegotten drama, undone by variable performances, awkwardly inserted flashback and fantasy sequences, and a gloppy overlay of voiceover narration.
    • 37 Metascore
    • 42 Scott Tobias
    von Donnersmarck's meat-and-potatoes direction makes The Tourist astonishingly lifeless and awkward, reducing two of the world's biggest movie stars to something akin to shy, pimply teenagers on their first date.
    • 58 Metascore
    • 42 Scott Tobias
    In spite of fine work from Bardem and Álvarez, Biutiful is an irritating, oppressive 150-minute dirge, not the step forward Iñárritu's dissolved partnership with Arriaga seemed to promise.
    • 48 Metascore
    • 42 Scott Tobias
    At the movie's center, Schreiber approaches the role with a seriousness that lacks joy or any other colorful inflection.
    • 50 Metascore
    • 42 Scott Tobias
    It's the sort of film Robert Altman might have made if he cut his teeth working for The Disney Channel.
    • 36 Metascore
    • 42 Scott Tobias
    Yes, perhaps the audience will like its favored couple more, but all the engineering that goes into making them sympathetic results in a film that feels agonizingly synthetic and alien.
    • 49 Metascore
    • 42 Scott Tobias
    The key mistake was Ahmed's choice to direct it himself; it's promotional when it might be revealing of impasses (and commonalities) between cultures and the complex tactics comedians use to address it.
    • 37 Metascore
    • 42 Scott Tobias
    Everything and everyone acts as cogs in a relentless plot machine that keeps twisting and twisting like an annoying little gizmo on Christmas morning.
    • 36 Metascore
    • 42 Scott Tobias
    A few individual performances survive - Liotta finds a little of his old edge, and Pacino briefly revisits Serpico territory - but they're smothered in the slow-burning absurdity.
    • 28 Metascore
    • 42 Scott Tobias
    Better performances might have sold The Divide, but aside from Arquette's fine work as a single mother driven to self-degradation, the cast amplifies the impression of a canned, one-act theater piece.
    • 57 Metascore
    • 42 Scott Tobias
    It isn't easy to insult the intelligence of preschoolers, but Chimpanzee's insistence on turning the two gangs into the Sharks and the Jets does the job long before Allen lapses into his Home Improvement grunting.
    • 60 Metascore
    • 42 Scott Tobias
    The rigors of identifying and training companion dogs are fascinating, but they would fit more comfortably in a non-fiction format, where nobody has to play pretend. As it stands, the dog is the only creature who acts naturally.
    • 41 Metascore
    • 42 Scott Tobias
    Despite some promising early goofiness involving full-contact soccer and the quest for a chicken burrito, Battleship plays it regrettably straight most of the time, as if the fate of the world really might rest on how well the Navy can hurtle projectiles at alien warships. With eyes closed, the movie uncannily resembles a giant baby playing with pots and pans.
    • 32 Metascore
    • 42 Scott Tobias
    It's mostly boilerplate horror, plucking visual ideas from better sources and relying on the sick novelty of referencing an actual catastrophe.
    • 34 Metascore
    • 42 Scott Tobias
    It's a celebration of libertine sexuality - nothing more, nothing less - and almost remarkably untroubled by any of the dramatic issues it raises. Much of its 79 minutes is spent marveling over how skillfully the actors simulate the real thing.
    • 49 Metascore
    • 42 Scott Tobias
    Take Lola Versus, a Greta Gerwig vehicle that feels like a pilot awaiting pick-up from a network that doesn't exist.
    • 43 Metascore
    • 42 Scott Tobias
    Wiseman's Total Recall isn't intellectualized like "Blade Runner," or even that much more sophisticated than his "Underworld" movies.
    • 30 Metascore
    • 42 Scott Tobias
    It's raunchy/sweet in the "American Pie"/"40-Year-Old Virgin" tradition, and as dynamic as a glob of lazy sperm.
    • 45 Metascore
    • 42 Scott Tobias
    Craigslist Joe takes Garner on a 21st-century hitchhiking trip that not only didn't end in his gruesome murder, but in a month to remember fondly. It's an inspiring experience. For him.
    • 22 Metascore
    • 42 Scott Tobias
    With its minimal settings and focus on the abstract lingo of market transactions, "Margin Call" stands as the new model for how to do Wall Street on a budget, embedding its moral themes in language and complex characters. By comparison, $upercapitalist seems naïve about both the market and the humans who operate in it.
    • 51 Metascore
    • 42 Scott Tobias
    The Expendables 2 makes a franchise out of a novelty item, and the nostalgic kick is gone: It's a reminder that most of those '80s actioners were xenophobic and dumb, that many of its stars had more muscle mass than charisma, and that the sight of these old fossils referring to themselves as old fossils is more pathetic than cheekily self-referential.
    • 28 Metascore
    • 42 Scott Tobias
    Until now, the sequels have gotten away with the cynical franchising of John McClane, but A Good Day To Die Hard, the worst entry in the series by far, exposes the hollowness and stupidity of McClane 2.0.
    • 53 Metascore
    • 40 Scott Tobias
    The few isolated funny moments, particularly a witty visual gag involving a pop-up tent with legs, provide only a short break from the screen-flooding onslaught of CGI creatures and screaming extras.
    • 45 Metascore
    • 40 Scott Tobias
    While competently staged and punched up by Lock, Stock's changing camera speeds, it doesn't have the wit or intrigue to sustain its half-length.
    • 54 Metascore
    • 40 Scott Tobias
    Comfortable with the inherent contradictions, Ishii throws all sexual politics to the wind in his highly stylized, fearlessly gratuitous fantasy, an unsettling mix of titillation, morality, victimization, and empowerment.
    • 47 Metascore
    • 40 Scott Tobias
    John Waters covered the same territory in his underrated 1998 comedy "Pecker," but without Waters' colorful mix of outrageousness and affection, Posner can't stir up the rancor to score even a few glancing blows at an easy target.
    • 50 Metascore
    • 40 Scott Tobias
    It would be tempting to call Storytelling a narrow and simplistic examination of the creative process, if only Solondz weren't so quick to agree.
    • 60 Metascore
    • 40 Scott Tobias
    Though it's tempting to praise Verete for having the courage to show the worst of both worlds, only a propagandist could get away with being so reductive; an artist should be held to a higher standard.
    • 47 Metascore
    • 40 Scott Tobias
    A feeble and self-congratulatory heart-warmer.
    • 64 Metascore
    • 40 Scott Tobias
    Episodic and minimalist to a fault, Blackboards makes its ironic point about education, then makes it again a few times over for good measure, rarely expanding beyond its narrow seriocomic agenda.
    • 72 Metascore
    • 40 Scott Tobias
    Go
    Escapism of the worst sort, a manipulative exercise in style that preys on the passivity of its characters and its audience. In the end, Go offers little more than the sour, impermanent rush of a pixie stick.
    • 31 Metascore
    • 40 Scott Tobias
    A banal message movie.
    • 30 Metascore
    • 40 Scott Tobias
    Knockaround Guys proceeds with a gravity that's constantly tripped up by its characters' stupidity.
    • 56 Metascore
    • 40 Scott Tobias
    Cacoyannis errs on the side of genteel respectability, sacrificing emotion and verve at the altar of good taste.
    • 64 Metascore
    • 40 Scott Tobias
    The Mystic Masseur shows more signs of life than "Cotton Mary," but it's still a producer's movie: attractively mounted, dramatically inert.
    • 51 Metascore
    • 40 Scott Tobias
    If anything, The Transporter isn't ludicrous enough; only one scene (a hand-to-hand showdown in the middle of an oil slick) reaches the inspired, delirious comic heights of the best Hong Kong movies.
    • 48 Metascore
    • 40 Scott Tobias
    Though Scarlet Diva contains flashes of pungent black humor and self-deprecation, it's hard to know how seriously Argento takes herself, or how much her real life has been inflated for dramatic effect.
    • 50 Metascore
    • 40 Scott Tobias
    Careening from bubbly romantic comedy to bitchy melodrama to the darker matters of murder, incest, and suicide, the film possesses the catch-all qualities for which Bollywood cinema is known, but Bose exerts about as much control over them as the conductor of a runaway train.
    • 49 Metascore
    • 40 Scott Tobias
    The film is an old-fashioned morality play writ extra-large, applying a heavy, austere tone to a sequence of events that can't bear the load. The burden falls mostly on Kevin Kline, who trades in his lithe, expressive comedic gifts for a dramatic role that fits him like a straitjacket and a pair of lead shoes.
    • 45 Metascore
    • 40 Scott Tobias
    Perhaps because the present-day characters are such insufferable twits -- especially the brooding Penn, who's given to tossing around stanzas by Yeats and Dylan Thomas -- the modern story feels like a device, a flimsy entrée into events that would be better accessed directly.
    • 63 Metascore
    • 40 Scott Tobias
    It's telling that this slice of milquetoast is the first to get picked up by a major studio boutique. Put in the most euphemistic terms possible, the film's banal premise contains "universal themes," meaning that its sentimental clichés translate readily to all continents and cultures.
    • 46 Metascore
    • 40 Scott Tobias
    Perhaps the oddest thing about The In-Laws is that it's aimed at an audience old enough to remember not only the original, but also how much funnier it seemed at the time.
    • 40 Metascore
    • 40 Scott Tobias
    Botches what could be the most mischievous power since Scott Baio's telekinesis in the 1982 comedy "Zapped!": a wristwatch that speeds up time for the user until the rest of the world seems to be standing still.
    • 32 Metascore
    • 40 Scott Tobias
    The movie and the movie-within-a-movie share a chemistry even more awkward than that of their flat-footed leads.
    • 64 Metascore
    • 40 Scott Tobias
    The angrier the film gets, the less funny it becomes, squelched by heavy-handed polemics, a maddeningly repetitive musical score, and a running time that drags its overriding joke into the ground.
    • 45 Metascore
    • 40 Scott Tobias
    The film does coast along smoothly to the inevitable, which is a credit to the always-game Reese Witherspoon, who's courteous enough to pretend she doesn't know what's coming, then make it look like a huge surprise.
    • 53 Metascore
    • 40 Scott Tobias
    Without the mythical power or giddy adventurousness of the first two Star Wars movies, the impact is strangely numbing, like watching a two-and-a-half-hour ILM show reel in search of moneyed investors.
    • 60 Metascore
    • 40 Scott Tobias
    Miles away from "Farewell, My Concubine" in form and function, with thinly defined characters and unreflective attitudes about urban values vs. country values, the film would be impossible to identify as Chen's if his name weren't in the opening credits.
    • 67 Metascore
    • 40 Scott Tobias
    Perhaps the worst thing that could be said about Better Luck Tomorrow is that, on a slow night, it's easy to imagine these delinquents wanting to rent a film just like it.
    • 36 Metascore
    • 40 Scott Tobias
    Beyond fulfilling the dreams of a seemingly nice fellow, the whole venture is a victory of hype over substance, loudly accomplishing nothing.
    • 70 Metascore
    • 40 Scott Tobias
    Taken together, the stories are a watershed of feminist clichés, composed of half-hour sections that are too tidy by half, and overlaid with writerly voiceovers that suggest an author too enamored of her own narration. But one salvageable piece emerges in the middle: a sharp and acerbically funny segment that seems written specifically for Parker Posey.
    • 41 Metascore
    • 40 Scott Tobias
    The generic intrigue and chase scenes take over, leaving poor Muniz at the mercy of stunt doubles and chintzy special effects.
    • 56 Metascore
    • 40 Scott Tobias
    Schumacher choose to start the movie in outer space? The opening shot epitomizes everything wrong with Phone Booth: Given the chance to stage human drama on an intimate, suffocating scale, Schumacher begins in the endless expanse of the void, tricked out with gratuitous CGI effects.
    • 41 Metascore
    • 40 Scott Tobias
    If Gaudreault's 90-minute pilot ever makes it to television, French-Canadians can look forward to their own Italian version of A.K.A. Pablo.
    • 58 Metascore
    • 40 Scott Tobias
    Though it isn't explained until the closing minutes, the title Acts Of Worship says a lot about Rodriguez's terminal weakness for the overwrought and faux-poetic.
    • 64 Metascore
    • 40 Scott Tobias
    AKA
    Divided into a triptych of images sprawled across a Cinemascope frame, AKA rarely uses the extra screens for information that couldn't be conveyed well enough in one.
    • 71 Metascore
    • 40 Scott Tobias
    Folds like a house of cards, collapsing under its own flimsy foundation.
    • 36 Metascore
    • 40 Scott Tobias
    Right up to the ludicrous finale and an even more improbable denouement, everything rings Hollywood-false. More galling still, the filmmakers' inventions take the zing out of the facts.
    • 45 Metascore
    • 40 Scott Tobias
    Veering wildly from macabre Southern Gothic to quirky small-town romance, Home Fries is too busy cross-pollinating genres to bother with consistent behavior and tone.
    • 44 Metascore
    • 40 Scott Tobias
    Seems as much an imposter in the drag-queen world as its heroines; it fronts the sort of safely asexual gay characters found on network TV.
    • 45 Metascore
    • 40 Scott Tobias
    Duller than a rain delay on the Golf Channel.
    • 38 Metascore
    • 40 Scott Tobias
    The strange thing about Raising Helen is that nothing out of the ordinary ever really happens.
    • 53 Metascore
    • 40 Scott Tobias
    Opening shots tend to say a lot about a movie, but they say everything about The Notebook, a glossy adaptation of Nicholas Sparks' four-hanky sudser.
    • 63 Metascore
    • 40 Scott Tobias
    The tiger footage in Two Brothers would make for a solid nature documentary, but because the animals are shoehorned into a narrative, they've been anthropomorphized to death.
    • 48 Metascore
    • 40 Scott Tobias
    Constructed out of poorly supported accusations, vague innuendo, and naked emotional appeals, Bush's Brain has a Rove-esque quality of its own.
    • 38 Metascore
    • 40 Scott Tobias
    Paparazzi follows the vigilante playbook in all its banality, without much in the way of moral reflection.
    • 48 Metascore
    • 40 Scott Tobias
    Shot on shaky-cam digital video, filtered through what appears to be an old sweatsock, the film mimics Dogme-style realism in its vision of modern persecution, but in the end, it offers the sort of touchy-feely mysticism that belongs to the crystal-ball and tarot-reading set.
    • 34 Metascore
    • 40 Scott Tobias
    It might as well be retitled "Waiting For Antonio," since Sabato's appearances bookend miles of convoluted nonsense. For the prurient, that's probably too much to endure.
    • 40 Metascore
    • 40 Scott Tobias
    The film feels more at home with sex than war, like a romance novel where the swinging lovers find their passions stirred by bombs exploding in the distance. Their three-way dalliances are so frivolous and silly that once the action turns dark, Duigan and his cast leave audiences unprepared for the emotional fallout.
    • 48 Metascore
    • 40 Scott Tobias
    Every single joke, character detail, music montage, and pop-culture reference looks extensively market-tested, whether via screenings, focus groups, or other box-office successes.
    • 19 Metascore
    • 40 Scott Tobias
    Affleck's psychotic enthusiasm aside, no one seems to be having a good time, and the ill will becomes infectious.
    • 50 Metascore
    • 40 Scott Tobias
    Loses its sass too quickly.
    • 47 Metascore
    • 40 Scott Tobias
    While it's not always necessary for filmmakers to relate that closely to their material, Feig's marked distance from the story of a sullen boy who parts the Iron Curtain may account for its generic artlessness.
    • 55 Metascore
    • 40 Scott Tobias
    Compelling as it sounds, the idea behind Freeze Frame doesn't make any sense, especially when realized in practical terms.
    • 39 Metascore
    • 40 Scott Tobias
    A hopelessly stolid and distant evocation of Bob Rafelson's "Five Easy Pieces."
    • 65 Metascore
    • 40 Scott Tobias
    The umpteenth variation on second-generation American immigrants bucking the traditions of their first-generation elders.
    • 29 Metascore
    • 40 Scott Tobias
    Without contrivances, the movie would only run about five minutes.
    • 30 Metascore
    • 40 Scott Tobias
    There's real potential in the premise of young, unmotivated screw-ups logging time at a dead-end restaurant job--a hash-slinging "Office Space," basically--but first-time writer-director Rob McKittrick makes it look like a homemade sitcom laced with profanity.
    • 40 Metascore
    • 40 Scott Tobias
    Stripped down to the barest genre essentials, Saw is a spring-loaded killing machine, packed with sadistic little deathtraps and ludicrous macabre twists, and its quickie sequel offers more of the same, which should again appease viewers who enjoy being jerked around.
    • 40 Metascore
    • 40 Scott Tobias
    Much of the second half is spent waiting for the other shoe to drop, though you don't have to have 20/20 vision in order to see the big twist coming from miles away. Once it arrives, the film officially disembarks from reality with an over-the-top climax and denouement that play shamelessly to the bloodthirsty masses.
    • 53 Metascore
    • 40 Scott Tobias
    Duane Hopwood is suffused with hangdog dreariness, equivalent to a unsoled shoe treading rainwater.
    • 56 Metascore
    • 40 Scott Tobias
    Most of it falls on Bezucha, not just for devising these monstrously cruel characters, but for putting them in situations that are far too serious to be resolved by Christmas morning. When the melodrama gets too intense, the film collapses in slapstick.
    • 37 Metascore
    • 40 Scott Tobias
    Verbinski orchestrates complex action sequences, including two spectacular bits of derring-do on a moving train, with a precision few in Hollywood are capable of pulling off. Yet The Lone Ranger, like his last two Pirates movies, seems conceived to deliver spectacle by the bulk, which means carrying the baggage of multiple subplots for the purpose of multiple climactic sequences.
    • 68 Metascore
    • 40 Scott Tobias
    There’s a potentially compelling story here about children of divorce and the tentative ways they set about forging their own relationships, but the filmmaking is too rudimentary to draw it out subtly.
    • 85 Metascore
    • 40 Scott Tobias
    Coogler isn’t exactly an invisible hand. He pokes and prods his audience at every turn: Neither the false moments nor the powerful ones leave much mystery about how we’re supposed to feel.
    • 39 Metascore
    • 40 Scott Tobias
    Percy Jackson: Sea Of Monsters continues a tradition of adequacy that could be described as “epic-ish” or “majestic-esque.”
    • 51 Metascore
    • 40 Scott Tobias
    The Short Game is like a tape-delayed Olympics: old footage, slick bios, no substance.
    • 65 Metascore
    • 40 Scott Tobias
    Freely adapted from Goethe’s two-part play, Sokurov’s Faust is a work of crushing tedium, relieved only by the spare moments of beauty that pop out like dandelions in a washed-out landscape of oppression and grotesquerie.
    • 60 Metascore
    • 40 Scott Tobias
    As a lesson in how not to make a historical biopic, Mandela: Long Walk To Freedom proves remarkably complete: It’s a dull, glossy, uncomplicated portrait of a man whose personal and political legacy is marked by serene idealism and shrewd calculation.
    • 52 Metascore
    • 40 Scott Tobias
    Reitman has placed a not-unreasonable bet that sensual creatures like Winslet and Brolin can convey the passion necessary for their relationship to make sense, but the film carries itself too stiffly, like it’s so afraid of making the wrong choices that it doesn’t make any good ones.
    • 27 Metascore
    • 40 Scott Tobias
    Co-writer/director Douglas Aarniokoski has a nasty little neo-noir thriller tucked into Nurse 3D, but he buries it in his all-chocolate-all-the-time conceptual sloppiness.
    • 52 Metascore
    • 40 Scott Tobias
    There’s no harmony at all to the elements tossed into the new remake of RoboCop, but credit screenwriter Joshua Zetumer and director José Padilha for at least having some elements in play.
    • 47 Metascore
    • 40 Scott Tobias
    Though it sounds like a contradiction, the film could be described as both dull and over the top.
    • 33 Metascore
    • 40 Scott Tobias
    it’s hard to not see the puppet strings above everyone’s heads as Alaimo tugs them into big statements about suburban emptiness, economic flim-flammery, family dysfunction, and other hallmarks of America’s foundational rot.
    • 49 Metascore
    • 40 Scott Tobias
    Bondarchuk mingles the you-are-there grittiness of close-quarters combat and constant assaults from above and below with war-movie clichés that haven’t been updated since before the real Battle Of Stalingrad. It’s history written with airbrush.