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 6.2 points higher than other critics. (0-100 point scale)

Sean Axmaker's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Lost in Translation
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
  1. Negative: 53 out of 884
884 movie reviews
    • 45 Metascore
    • 50 Sean Axmaker
    You can feel the debt to Sidney Lumet's '70s studies in police corruption and cop brotherhood, but O'Connor never captures the edge of danger, anger and moral stands being ground up in compromise.
    • 30 Metascore
    • 50 Sean Axmaker
    Washington's fire and righteous anger can only do so much, and the token grit amounts to a few grains of sand in the sentimental machinery.
    • 45 Metascore
    • 50 Sean Axmaker
    Yet for all the debauchery, there's a juvenile candor in its knowing embrace of teen sex comedy cliches, as if the entire film is just one of Scott's fantasies. You half expect him to jolt awake at the end, and why not? The film fades just like a half-remembered dream.
    • 27 Metascore
    • 50 Sean Axmaker
    The script is soggy and sloppy and Waters is no master of suspense, but he does have a pair of engaging stars flirting in a world of chic New York glamour.
    • 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.
    • 47 Metascore
    • 50 Sean Axmaker
    For all the color and lively music, it's an overlong, messy labor of love built on a sense of personal betrayal that rings hollow.
    • 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.
    • 44 Metascore
    • 50 Sean Axmaker
    Utter lack of irony and curiosity.
    • 55 Metascore
    • 50 Sean Axmaker
    This is a familiar journey and director/co-writer Todd Phillips sidesteps every opportunity to inject a little edge or originality into it.
    • 35 Metascore
    • 50 Sean Axmaker
    Harmless and thoroughly unmemorable: colorful, cute, fast paced, and about as involving as an amusement park ride.
    • 41 Metascore
    • 50 Sean Axmaker
    For a film that uses race, class and sexual stereotypes as the starting point, this is disappointingly skin deep.
    • 57 Metascore
    • 50 Sean Axmaker
    As fresh as a highlight reel of day-after replays, Mr. 3000 is a case of major-league talent stuck in a minor-league story.
    • 44 Metascore
    • 50 Sean Axmaker
    For all of its admirable intentions, the awkward melding of movie-of-the-week tragedy, non-denominational salvation drama and teen sex comedy mistakes banality for conviction.
    • 45 Metascore
    • 50 Sean Axmaker
    Smokin' Aces isn't a story, it's a premise with a madhouse of characters flung into a collision course that ends at the same finish line.
    • 54 Metascore
    • 50 Sean Axmaker
    Rock Star roars to life with a promise of something inspired and inventive whenever Wahlberg leaps onstage. Offstage, however, even he can't breathe life into this same old song.
    • 58 Metascore
    • 50 Sean Axmaker
    Not as cool as the first.
    • 61 Metascore
    • 50 Sean Axmaker
    When Plympton's freak flag flies, Hair High delivers the same whacked-out weirdness of his shorts. The rest of the film simply stretches out the simple premise and marks time between his ideas.
    • 24 Metascore
    • 50 Sean Axmaker
    Cohen drives the film at a galloping pace, but it's not fast enough to outrun its absurdity.
    • 27 Metascore
    • 50 Sean Axmaker
    The results are shapeless, excessively lurid and often unpleasant, with Argento shamelessly vamping the white-trash junkie mother and truck-stop hooker. She apparently forgot whose story she was telling.
    • 56 Metascore
    • 50 Sean Axmaker
    There isn't a spark in the familiar emotional situation or a reason to care how these amiably bland characters end up.
    • 27 Metascore
    • 50 Sean Axmaker
    Low octane comedy running on fumes.
    • 57 Metascore
    • 50 Sean Axmaker
    A jargon-filled documentary less interested in culture and history than mechanics, machinery and the rush of speed.
    • 47 Metascore
    • 50 Sean Axmaker
    For all its good intentions in exploring the grace of death, November never creates a life outside of its all-too-obvious inspirations and the mystery becomes little more than a groaner.
    • 19 Metascore
    • 50 Sean Axmaker
    This is pseudo-cynical comedy, however, not social satire. All the sharp corners are smoothed over and what's left is little more than a big screen sitcom.
    • 30 Metascore
    • 50 Sean Axmaker
    Deutch never raises the film beyond its paint-by-numbers blueprint.
    • 53 Metascore
    • 50 Sean Axmaker
    Burger is so respectful of the trio that he never gets under their skin. Apart from the generosity of strangers who pay tribute to the soldiers with little acts of kindness, you get the same generic observations of any road movie.
    • 31 Metascore
    • 50 Sean Axmaker
    Entertaining in a trashy sort of way.
    • 38 Metascore
    • 50 Sean Axmaker
    Quaid and Russo outshine the script with their presence and chemistry alone.
    • 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.
    • 36 Metascore
    • 50 Sean Axmaker
    Campbell fans will get a kick out of it. The rest of the world will likely find this spoof a little too insular and indulgent.

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