For 884 reviews, this critic has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Sean Axmaker's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 O
Lowest review score: 0 Pretty Persuasion
Score distribution:
  1. Negative: 53 out of 884
884 movie reviews
    • 51 Metascore
    • 58 Sean Axmaker
    As action movies seem to get more complicated and convoluted with international conspiracies and technological concepts, the "Transporter" franchise is refreshingly simple.
    • 50 Metascore
    • 58 Sean Axmaker
    Director Alfredo De Villa doesn't play it for the kind of knockabout comedy so often seen in these films (like the shrill hit "Four Christmases").
    • 47 Metascore
    • 58 Sean Axmaker
    Easily the least passionate romantic comedy I've seen in years.
    • 36 Metascore
    • 58 Sean Axmaker
    Mostly it's a series of dream-image clues scribbled out by juvenile seer Fanning, followed by super-powered smackdowns between agents and mercenaries with slangy titles like watchers, stitchers and sniffers.
    • 45 Metascore
    • 50 Sean Axmaker
    For an ostensibly personal film, this plodding portrait of the self-involved flailing for meaning in a mercenary world has little of Soderbergh's insight, empathy or generous personality.
    • 24 Metascore
    • 50 Sean Axmaker
    Director Jesse Vaughan keeps the ball in play through the aw-shucks lessons in humility and generosity, but the teamwork is shoddy, the plays lack surprise and, finally, Juwanna Mann misses more than it hits.
    • 51 Metascore
    • 50 Sean Axmaker
    Finn Taylor's lark of a movie feels like two unfinished films awkwardly fused together and ever threatening to snap apart.
    • 31 Metascore
    • 50 Sean Axmaker
    Entertaining in a trashy sort of way.
    • 58 Metascore
    • 50 Sean Axmaker
    Farce is a genre best served with building momentum and crack timing. This lazily paced piece seems more concerned with winking at the audience and putting quotations around the performances than anything so crass as playing this farce for laughs.
    • 29 Metascore
    • 50 Sean Axmaker
    Like shave ice without the topping, this cinematic snow cone is as innocuous as it is flavorless.
    • 35 Metascore
    • 50 Sean Axmaker
    Harmless and thoroughly unmemorable: colorful, cute, fast paced, and about as involving as an amusement park ride.
    • 45 Metascore
    • 50 Sean Axmaker
    There's just no juice to this thing, merely a bunch of fitfully funny gags and a climactic football match that, under Skolnick's direction, fails to show us why the Europeans find this so exciting.
    • 62 Metascore
    • 50 Sean Axmaker
    A good-faith effort, if not completely successful.
    • 53 Metascore
    • 50 Sean Axmaker
    A bubbly, high-spirited paean to the joys of pharmaceutical phun that grooves to a throbbing beat but constantly trips over flat, prosaic dialogue and literal, lifeless sight gags.
    • 30 Metascore
    • 50 Sean Axmaker
    Deutch never raises the film beyond its paint-by-numbers blueprint.
    • 52 Metascore
    • 50 Sean Axmaker
    If Laurence Fishburne could only have harnessed his fierce performance to drive his directoral debut, Once in the Life might have made something memorable of the done-to-death tale of small-time crooks on the run after a heist gone wrong.
    • 44 Metascore
    • 50 Sean Axmaker
    Utter lack of irony and curiosity.
    • 47 Metascore
    • 50 Sean Axmaker
    An uninvolving film.
    • 50 Metascore
    • 50 Sean Axmaker
    If Irwin is your bag, then this is your film. Otherwise, Crocodile Hunter: Collision Course is dumb, mate. Real dumb.
    • 28 Metascore
    • 50 Sean Axmaker
    Though a hypnotically beautiful film, it's dramatically listless and dull, and completely lacking in passion.
    • 44 Metascore
    • 50 Sean Axmaker
    Sober and serious and downright glum, ultimately an all-too-familiar portrait of lonely souls unable to break through their own isolation.
    • 48 Metascore
    • 50 Sean Axmaker
    Shallow Hal begs for the Farrellys to unleash their arsenal of offensiveness, but they want to be liked so much they appear afraid to offend. The result is safe, well-meaning and dull.
    • 50 Metascore
    • 50 Sean Axmaker
    Opens on a display of humiliation and human degradation at its worst and then rewinds, like a video surfer zipping back to replay a favorite scene, to the nominal beginning of the spiral.
    • 32 Metascore
    • 50 Sean Axmaker
    A slick, cynical, nasty piece of heist-film plotting that hides its more obvious logical gaps in techno-babble and distracting spectacles of wanton violence and big explosions.
    • 24 Metascore
    • 50 Sean Axmaker
    Cohen drives the film at a galloping pace, but it's not fast enough to outrun its absurdity.
    • 54 Metascore
    • 50 Sean Axmaker
    It's too insubstantial to support its two-hour-plus running time, and too arbitrary to work as a story, so you walk out wondering not happened, but whether anything actually did.
    • 61 Metascore
    • 50 Sean Axmaker
    A diversion so soggy that even the few combustible comic disasters fail to light a flame under the lukewarm laughs.
    • 51 Metascore
    • 50 Sean Axmaker
    Many will find Griffin profane, sexist and decidedly offensive. Many more will find his raunchy insights inspired, his body language hilarious and his gift for mimicry and caricature worth the entire show.
    • 47 Metascore
    • 50 Sean Axmaker
    Offers precious little inspiration, and the only irony it manages is surely unintended.
    • 43 Metascore
    • 50 Sean Axmaker
    Too bad the film, which Kennedy spun from a stand-up skit, remains as blissfully unaware of its possibilities as B-Rad is of his absurdity.

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