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

Sean Axmaker's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 2046
Lowest review score: 0 Norbit
Score distribution:
  1. Negative: 53 out of 884
884 movie reviews
    • 53 Metascore
    • 67 Sean Axmaker
    Woven from such promising threads that you wish it was better.
    • 50 Metascore
    • 58 Sean Axmaker
    A lively and lightweight comedy, the film finally connects with the real-life rush of playing music for a live audience.
    • 39 Metascore
    • 50 Sean Axmaker
    Fat Albert's originality is lost on the big screen.
    • 73 Metascore
    • 67 Sean Axmaker
    Highly entertaining.
    • 59 Metascore
    • 75 Sean Axmaker
    It's hard to call it thrilling -- these aren't characters you actually care about and De Palma isn't as concerned with building tension as playing visual games -- but it sure sparkles.
    • 88 Metascore
    • 100 Sean Axmaker
    A vivid, thoughtful, unapologetically raw coming-of-age tale full of sex, drugs and rock 'n' roll.
    • 74 Metascore
    • 83 Sean Axmaker
    With less lampooning and satirical asides, Sicko may be less "entertaining" than Moore's previous films, but it's also more affecting and effective.
    • 90 Metascore
    • 100 Sean Axmaker
    Fascinating memoir of coming of age in Iran.
    • 78 Metascore
    • 75 Sean Axmaker
    The film walks a fine line between contempt for Polanski's crimes and sympathy for his trials and his screwed-up psyche, and it manages both while showing us why he fled the U.S. rather than face the corrupted judicial circus.
    • 39 Metascore
    • 25 Sean Axmaker
    Has all the telltale signs of desperate re-editing: mismatched shots, clumsy transitions and a devastating car wreck that occurred either on a dry sunlit day or in the midst of a nighttime downpour, depending on the flashback.
    • 57 Metascore
    • 83 Sean Axmaker
    The nuttiest big-screen video game you'll ever have the pleasure of seeing somebody else play.
    • 41 Metascore
    • 50 Sean Axmaker
    Its one saving grace is Godzilla himself, the James Bond of giant monsters.
    • 40 Metascore
    • 67 Sean Axmaker
    This a rapid-fire romp through "War of the Worlds," "Saw," "The Grudge" and "The Village," cut up into skits and pieced back together in some mutant jigsaw puzzle with a few pieces missing, delivers a barrage of low-minded gags with high-spirited energy.
    • 53 Metascore
    • 75 Sean Axmaker
    The script is full of brassy lines.
    • 70 Metascore
    • 67 Sean Axmaker
    Don't expect a meaningful resolution, just a bouncy comedy with some hilarious moments in the stray ricochets.
    • 66 Metascore
    • 67 Sean Axmaker
    It's part Jules Verne arms-race nightmare, part James Bond gadget war and part boy's own adventure.
    • 54 Metascore
    • 50 Sean Axmaker
    It doesn't leave you much to hold on to in a comedy about apathy that can't even muster the energy to care.
    • 49 Metascore
    • 75 Sean Axmaker
    Murders aside, Mac and Pat are the most fun-loving Shakespearean couple to hit the screen, and Morrissette's answer to Lady Macbeth's damned spot is brilliant.
    • 54 Metascore
    • 50 Sean Axmaker
    This well-meaning mistake gets lost in the metaphors.
    • 46 Metascore
    • 58 Sean Axmaker
    It's a pretense of even-handedness. The true story has been reduced to a case for faith. It merely sacrifices all reason to get there.
    • 66 Metascore
    • 75 Sean Axmaker
    Don't expect scary from this trilogy of short horror films from a trio of Asia's most interesting directors, which are not so much extreme as twisted.
    • 36 Metascore
    • 58 Sean Axmaker
    So grim and humorless that the first half almost sinks into silliness.
    • 65 Metascore
    • 67 Sean Axmaker
    A pointed satire of the dumbing down of network TV with a sour tone and a broad execution.
    • 71 Metascore
    • 83 Sean Axmaker
    It's an appealing mix of an old Hollywood movie world of Upper East Side sophisticates with the character-driven spontaneity of a modern American indie, all very slight and light but deftly done.
    • 71 Metascore
    • 100 Sean Axmaker
    It's the most intense, unpredictable and thrilling cinematic experience I've had the pleasure to squirm through in ages.
    • 82 Metascore
    • 100 Sean Axmaker
    True to the characters and their conflicts, the resolution is neither neat nor expected. True to Demme, it's honest and generous and very human.
    • 46 Metascore
    • 50 Sean Axmaker
    Be warned that what looks to be a family comedy pushes its PG-13 rating to the edge with blatant sexual references and creatively crude sexual metaphors.
    • 50 Metascore
    • 75 Sean Axmaker
    Director Cherie Nowlan creates vivid personalities for the entire family and exposes the raw nerves of the biting humor.
    • 56 Metascore
    • 75 Sean Axmaker
    There's an unconvincing warm, fuzzy happy ending, in which recognition is treated as cure and understanding heals all. But, until then, Phoebe in Wonderland is an involving and empathetic drama of mothers and daughters.
    • 80 Metascore
    • 91 Sean Axmaker
    Movie magic is only as powerful as the imagination that casts it. Japanese master Hayao Miyazaki's imagination is the most creative in animated filmmaking.
    • 87 Metascore
    • 100 Sean Axmaker
    A hauntingly poetic triumph.
    • 52 Metascore
    • 58 Sean Axmaker
    Too hip to play it straight and too cool to resort to an actual story, Hartley turns the whole rambling spy game into a puzzle box where every certainty is thrown into doubt, every character has a hidden motive, and every clue is contradicted.
    • 39 Metascore
    • 58 Sean Axmaker
    A perfectly competent, if undistinguished, action film that smoothes over all the most interesting bumps in the drama.
    • 45 Metascore
    • 58 Sean Axmaker
    Favors pageantry over substance.
    • 58 Metascore
    • 67 Sean Axmaker
    A date film with a hook for men.
    • 70 Metascore
    • 75 Sean Axmaker
    The triumphs still are affecting, the setting is compelling and some of the human moments amid the political circus and culture wars are downright moving.
    • 77 Metascore
    • 83 Sean Axmaker
    While the characters lack the quirks and affectations that have enlivened the impulsive figures from past Dogme films, the passion of the players and Bier's sensitive direction give these utterly normal figures a vivid aliveness, along with dignity and everyday beauty.
    • 48 Metascore
    • 58 Sean Axmaker
    It's flashy, it's often funny ...,and it resembles a movie so much that soon it demands something resembling motivation, character, a plot, anything to explain the seemingly arbitrary connections between the stunts and the skits.
    • 47 Metascore
    • 25 Sean Axmaker
    Favors giggly juvenile humor over inspired satire and ends up not with a moral, but a moral vacuum.
    • 34 Metascore
    • 25 Sean Axmaker
    I'd be tempted to call the whole thing cartoonish, but that would be insulting to the real thing.
    • 53 Metascore
    • 67 Sean Axmaker
    Aviva emerges undamaged for all of her trauma. That may be the most compassionate, human act Solondz has offered in his career up to now.
    • 41 Metascore
    • 50 Sean Axmaker
    The film lacks the nerve for any genuinely nasty fun or comic bite.
    • 62 Metascore
    • 83 Sean Axmaker
    A mix of H.P. Lovecraft madness, David Cronenberg biological mutation and David Lynch small-town weirdness, it teasingly dangles explanations never delivered and escapes never sought, while diving into one of the most gonzo horrors to twist onto celluloid in years.
    • 57 Metascore
    • 75 Sean Axmaker
    After all of these years playing smug street thugs, cocky idiots and patsies, can you blame Dillon for giving himself an elegant girl (Natascha McElhone), a devoted guardian angel, and a little redemption?
    • 77 Metascore
    • 75 Sean Axmaker
    Scratch could use some of the wit and jagged energy that defined "Hype!"
    • 78 Metascore
    • 100 Sean Axmaker
    Confronts the line between the celebration and the exploitation of innocence with an uneasy tension that is discomforting at best.
    • 49 Metascore
    • 75 Sean Axmaker
    Kassovitz keeps the film zipping along with solid pacing and just enough action to clear the credibility gaps as long as the film is rolling.
    • 61 Metascore
    • 75 Sean Axmaker
    The film shoehorns in every memorable character from the original film.
    • 71 Metascore
    • 100 Sean Axmaker
    A sly, smart and very funny caricature of corporate politics and image culture.
    • 67 Metascore
    • 75 Sean Axmaker
    A quietly, somberly effective American indie drama.
    • 52 Metascore
    • 75 Sean Axmaker
    Doesn't necessarily offer anything new to the male/female dynamic, but it refuses to let Coles off the hook with an easy epiphany and a painless happily ever after.
    • 55 Metascore
    • 58 Sean Axmaker
    For all the tough-minded talk and frank portraits of inner-city life, however, the film is not altogether convincing.
    • 58 Metascore
    • 75 Sean Axmaker
    Behind the sad and vulnerable eyes of Bernal's damaged Elvis is both a fierce rage and a desperate need for his father's recognition, but he's more enigma than person. Hurt is more nuanced as the sincerely spiritual man faced with a past that threatens his family and his future.
    • 73 Metascore
    • 75 Sean Axmaker
    A few scenes are a bit coy and the "big secrets" threaten to pitch into melodrama, but Birmingham keeps bringing the film back to the delicate dynamics of the relationships at its heart.
    • 34 Metascore
    • 50 Sean Axmaker
    Fails to generate the elementary visceral thrills we've come to expect from science-fiction thrillers, let alone a compelling human drama.
    • 68 Metascore
    • 58 Sean Axmaker
    Rich with emotional turmoil and searing beauty, but it could have used a little more time in the editing room to make sense of it all.
    • 20 Metascore
    • 42 Sean Axmaker
    A harried, screechy film that goes nowhere at a breakneck pace, full of sound and furious slapstick overkill but devoid of wit.
    • 75 Metascore
    • 25 Sean Axmaker
    An airless, mannered mess.
    • 46 Metascore
    • 67 Sean Axmaker
    The guys of the Broken Lizard comedy troupe (of "Super Troopers" fame) are neither subtle nor especially ingenious. But in the age of gross-out gags and high-concept gimmicks, they throw themselves into the raucous, rude style of '70s film comedy with shameless glee.
    • 82 Metascore
    • 83 Sean Axmaker
    Venus is the second film from director Roger Michell and writer Hanif Kureishi to explore the sexual lives of folk that the movies treat as sexless -- the elderly. But where "The Mother" was a cold film of sexual greed and emotional pettiness, this robust yet delicate comic drama finds a kind of dignity in the old lothario whose vital life force struggles against a failing body.
    • 28 Metascore
    • 25 Sean Axmaker
    As stiff and slogging as animated films come.
    • 47 Metascore
    • 58 Sean Axmaker
    It probably cost less than the catering budget of average Adam Sandler comedy and, in its own hit-and-miss scattershot fashion, it's about as funny. At least when it hits.
    • 76 Metascore
    • 100 Sean Axmaker
    Makhmalbaf's astounding and haunting imagery tells a story of devastation, desperation and poverty.
    • 66 Metascore
    • 91 Sean Axmaker
    Olivier Dahan's sprawling portrait of the life of Edith Piaf is the kind of grand, passionate historical drama that no one seems to be able to pull off any more.
    • 44 Metascore
    • 67 Sean Axmaker
    When Rock hits he's dangerously funny. If he didn't try so hard to be liked, he'd be even more dangerous.
    • 60 Metascore
    • 67 Sean Axmaker
    Cute and often clever, there's nothing particularly memorable in this computer enhanced rerun, but this harmless little comedy has an unexpected warmth that melts the frozen plot.
    • 45 Metascore
    • 67 Sean Axmaker
    The resulting political thriller is more intriguing than riveting, flattened by Jewison's plodding direction and distracting use of British actors to play French characters.
    • 27 Metascore
    • 25 Sean Axmaker
    Sour slapstick assault with a tin heart and counterfeit sentimentality.
    • 77 Metascore
    • 100 Sean Axmaker
    Tommy Lee Jones steps behind the camera to direct himself in the most impressive directorial debut the American cinema has seen in some time, a contemporary western both rough and poetic, laconic and passionate.
    • 37 Metascore
    • 58 Sean Axmaker
    It's the chemistry between the women and the droll scene-stealing wit and wolfish pessimism of Anna Chancellor that makes this "Two Weddings and a Funeral" fun.
    • 74 Metascore
    • 83 Sean Axmaker
    Anyone who claims to support the troops owes it to them to see the film and hear their stories.
    • 61 Metascore
    • 67 Sean Axmaker
    The gags hit more than they miss, and Stiller has moments of inspired absurdity, but he's capable of something more cutting and clever. It's junk food moviemaking: fun to snack on, but hardly a substantial meal.
    • 59 Metascore
    • 83 Sean Axmaker
    Director Juan Carlos Fresnadillo creates the same world of devils and innocents that grounds so much of Spain's modern, seeped-in-Satanic-evil horror, recast in a secular cinematic vocabulary.
    • 84 Metascore
    • 75 Sean Axmaker
    It's a twisted but beautiful love letter to a city, not factually correct but emotionally true.
    • 52 Metascore
    • 67 Sean Axmaker
    For all its impressive set pieces and breathless momentum, it's neither passionate nor urgent.
    • 72 Metascore
    • 91 Sean Axmaker
    Played by Lucy Russell with a defiant, unapologetic embrace of aristocratic privilege, Grace is a maddening yet fascinating character.
    • 34 Metascore
    • 58 Sean Axmaker
    Doom may be by the numbers, with a roll call of colorful types systematically exterminated while The Rock entertains with cartoonish expressions and reactions (the closest the film comes to personality).
    • 60 Metascore
    • 83 Sean Axmaker
    Carrera's direct, unadorned style has none of the searing imagery or cinematic imagination of "Y Tu Mama," but it bristles with passion, anger and a palpable sense of betrayal.
    • 51 Metascore
    • 25 Sean Axmaker
    Makes no effort to learn about the culture. It idolizes the idea of spiritual purity without offering any insight into what it really means.
    • 76 Metascore
    • 91 Sean Axmaker
    This collision of skate punk and pop-culture archaeology is the most entertaining slice of cultural history I've seen in years.
    • 66 Metascore
    • 91 Sean Axmaker
    Even if you don't like the stories, the filmmakers seem incapable of finding a corner of Paris that is not photogenic.
    • 49 Metascore
    • 67 Sean Axmaker
    The anger and betrayal hanging in the wake of shattered relationships and conflicted identities leave an admirable untidiness where most films would force resolution. There are no easy answers here, and it's not for lack of questions.
    • 66 Metascore
    • 91 Sean Axmaker
    Perhaps the most ingeniously imaginative element in Son of Rambow, a film exploding with imagination (some of it scrawled directly over the film in animated expressions of Will's private world), is its very conceit.
    • 80 Metascore
    • 75 Sean Axmaker
    Winterbottom carves his own intimate tale out of the sprawling material, a modest miniature with witty flair and moments of humility.
    • 65 Metascore
    • 58 Sean Axmaker
    The attitude is older, maybe a tad sentimental, and as adolescent and reckless as ever. Whether that's a good thing depends on your appreciation for dead-end conversations, geek debates and the Smithspeak sandbox of creative vulgarity.
    • 65 Metascore
    • 91 Sean Axmaker
    There's a real gee-whiz kick to the fantasy of being the brainiest kid on the planet, and a down-to-earth quality to Jimmy and his not-so-bright, but ever-so-stalwart best buddies.
    • 69 Metascore
    • 75 Sean Axmaker
    Director Len Wiseman, confidently stepping up from the smallish budget "Underworld" films to mega-budget Hollywood mainstream.
    • 63 Metascore
    • 67 Sean Axmaker
    As much a call to action as a documentary, it's a compelling and sobering lesson in the devastating effect of human industry on the planet. But a lesson nonetheless.
    • 47 Metascore
    • 58 Sean Axmaker
    A strangely warm, affectionate look at bad behavior amid emotional damage and a stranglehold of identity issues.
    • 59 Metascore
    • 67 Sean Axmaker
    Like a boulder bouncing down a long hill, the momentum keeps the film barreling along to the tragic inevitability promised in the opening titles.
    • 58 Metascore
    • 91 Sean Axmaker
    Explores cloudy, discomforting realities of the Holocaust not usually addressed in such films.
    • 73 Metascore
    • 83 Sean Axmaker
    Captures the pain and desperation of adolescent powerlessness and humiliation with powerful intimacy, strung out to almost 2 1/2 lazy hours of stories that wander through an ever-widening group of characters.
    • 82 Metascore
    • 83 Sean Axmaker
    The restraint of both director and actor makes this steely gangster drama reverberate long after it ends. This kind of mystery is rare in a film culture that demands answers before the credits roll.
    • 46 Metascore
    • 91 Sean Axmaker
    He's (Carrey) a marvelous Grinch in this spirited, bustling and mostly faithful spin on Seuss.
    • 69 Metascore
    • 75 Sean Axmaker
    Outside national borders, this naive vantage point is an entry into a country's history and culture, explaining without seeming patronizing.
    • 73 Metascore
    • 58 Sean Axmaker
    It's all so visceral that it overwhelms the near-abstract story and smothers what passes for characters.
    • 36 Metascore
    • 50 Sean Axmaker
    It plays like a big-budget, after-school special with a generous cast, who at times lift the material from its well-meaning clunkiness.
    • 70 Metascore
    • 91 Sean Axmaker
    Deftly weaves history, film and memory into an imaginative meditation on why the movies become a part of our lives.
    • 52 Metascore
    • 75 Sean Axmaker
    Salles tends to explain rather than suggest, but he connects with the anguish and abandonment to give this ghost story an emotionally haunting core.
    • 53 Metascore
    • 50 Sean Axmaker
    A canny but hollow pastiche.
    • 45 Metascore
    • 50 Sean Axmaker
    A tired tale that never comes to life.
    • 47 Metascore
    • 58 Sean Axmaker
    It's a bright, swiftly paced story with some spirited humor.
    • 72 Metascore
    • 67 Sean Axmaker
    Ghost Town reworks "Ghost" as a romantic comedy with a miserable hero who sees dead people and is really annoyed by them.
    • 52 Metascore
    • 42 Sean Axmaker
    Time travelers, hobbits, ghosts? Those I can buy. The impossibly quaint world of small-town innocence and Hollywood harmlessness in Win a Date With Tad Hamilton? Now that demands a serious suspension of disbelief.
    • Seattle Post-Intelligencer
    • 80 Metascore
    • 75 Sean Axmaker
    It's so beautiful and moving and simple that I'm willing to forgive Majidi his contrivances.
    • 27 Metascore
    • 25 Sean Axmaker
    Upbeat but generic songs (one performed by Little Richard) and jazz lines add a little energy but the film feels less like a feature than an expensive ad for the upcoming video.
    • 49 Metascore
    • 75 Sean Axmaker
    It's more than simply a well-crafted piece of fake history.
    • 29 Metascore
    • 50 Sean Axmaker
    Like shave ice without the topping, this cinematic snow cone is as innocuous as it is flavorless.
    • 24 Metascore
    • 0 Sean Axmaker
    It's hard to believe that five different writers took credit for this feeble story and script. Who says failure is an orphan?
    • 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
    An uninvolving film.
    • 78 Metascore
    • 75 Sean Axmaker
    It's less a deconstruction of the heist film than an ambitious contemplation of our fascination with the genre, directed with a dispassionate eye at a ruminative pace and centered by a queasily emotionless figure wading through a swamp of moral ambiguity.
    • 27 Metascore
    • 58 Sean Axmaker
    While it displays precious little originality or ingenuity, A Guy Thing is less graceless than most of its ilk and benefits from a likable cast.
    • 61 Metascore
    • 75 Sean Axmaker
    Isn't exactly adult animation but it's more complex and ambiguous than the usual Hollywood live-action blockbuster, and just as splashy.
    • 87 Metascore
    • 75 Sean Axmaker
    It's all about waste and destruction, and not just the toxic waste -- illegally dumped in landfills -- that is poisoning the farmland and the aquifers in the region.
    • 37 Metascore
    • 67 Sean Axmaker
    John Travolta is nothing if not cool as Chili Palmer.
    • 59 Metascore
    • 58 Sean Axmaker
    Abigail Breslin, the preteen Oscar nominee for "Little Miss Sunshine" and the most effortless actress of her generation, plays the precocious little girl part without overdoing the precociousness.
    • 31 Metascore
    • 67 Sean Axmaker
    A dumb film with a great conceptual hook from a director who visualizes better than he dramatizes.
    • 82 Metascore
    • 83 Sean Axmaker
    It's a little long and dissipates some of its power in an unfocused subplot, but the skewed sensibility of the film is both innocent and feral and offers a smart and satisfying reworking to the familiar genre. An American remake is already in the works.
    • 47 Metascore
    • 50 Sean Axmaker
    Sivan makes it all quite beautiful with verdant imagery and tastefully melodramatic direction, but at the cost of emotional and social ambiguities, not to mention living, breathing characters.
    • 62 Metascore
    • 58 Sean Axmaker
    More silly than funny.
    • 41 Metascore
    • 42 Sean Axmaker
    There's every reason to believe the creators stopped taking it seriously a long time ago. What's bothersome is that they don't take the audience seriously enough to deliver an actual movie.
    • 90 Metascore
    • 91 Sean Axmaker
    In the world of comic-book movies, American Splendor is the real deal, the warts-and-all adventures of the most unlikely hero on the comic stands.
    • 66 Metascore
    • 75 Sean Axmaker
    So Close is the film "Charlie's Angels: Full Throttle" dreams of being: sleek, silly, completely ridiculous and irresistible.
    • 59 Metascore
    • 75 Sean Axmaker
    Less cartoonish and more generous than the original.
    • 66 Metascore
    • 75 Sean Axmaker
    There is a heart-warming familiarity to much of its 2 1/2-hour tale, but the surprises around its edges gives Zelary a refreshing perspective.
    • 53 Metascore
    • 50 Sean Axmaker
    Weaver was half-heartedly pushed as an underdog Oscar choice. If the film was worthy of her performance, Weaver may have had a shot.
    • 60 Metascore
    • 67 Sean Axmaker
    It makes for a sweet and heartwarming story even as it celebrates and justifies the entire ridiculous phenomenon that Deruddere has been spoofing all along.
    • 87 Metascore
    • 75 Sean Axmaker
    What it lacks is an intensity, a passion at the center...It is, nonetheless, a lovely and often powerful film.
    • 43 Metascore
    • 75 Sean Axmaker
    Hardly sophisticated, but it's as inspired as teen sex comedies get.
    • 64 Metascore
    • 75 Sean Axmaker
    Erin Gruwell (Hilary Swank) is real, and for all the dramatic license that writer/director Richard LaGravenese takes in his film, her story -- and the stories of her students -- are moving.
    • 21 Metascore
    • 25 Sean Axmaker
    A one-joke, one-note turkey.
    • 44 Metascore
    • 67 Sean Axmaker
    So familiar you may have moments of deja vu.
    • 33 Metascore
    • 0 Sean Axmaker
    The psychobabble silliness passed off as investigative insight here is laughable at best.
    • 75 Metascore
    • 83 Sean Axmaker
    From Harry's perspective, it's a grotesque life, a dead end for his new protege Michel, but Moll also shows the sensitivity beneath the sniping and that's where With a Friend Like Harry ... really scores
    • 82 Metascore
    • 100 Sean Axmaker
    It's a rich work, lush and lovely and bustling with activity but paced at a contemplative stroll, like a time lapse recording in first gear.
    • 59 Metascore
    • 83 Sean Axmaker
    It may be too intense at times for wee ones, but kids of 5 and up testing the limits of their independence in the big world should relate to Lucas, dig the crazy insect world and embrace the imagination behind the colorful adventure.
    • 38 Metascore
    • 42 Sean Axmaker
    Like too many films of faith, it mixes its message, proclaiming that a life given over to God is a reward unto itself, and then handing over victories to its faithful like some overtime bonus.
    • 56 Metascore
    • 58 Sean Axmaker
    It's an interesting experiment that doesn't quite work.
    • 75 Metascore
    • 75 Sean Axmaker
    The earthy imagery is delicate while the drama is oddly elliptical, creating a lovely film of storybook images and parables. It's both obvious and elusive and, historical specifics aside, almost timeless.
    • 43 Metascore
    • 58 Sean Axmaker
    There are too many unearned runs to fully embrace this underdog triumph.
    • 66 Metascore
    • 75 Sean Axmaker
    The film's take on media and personal responsibility recalls Brian De Palma's faux Iraq documentary, "Redacted," here dropped into a homefront turned guerrilla war zone.
    • 69 Metascore
    • 75 Sean Axmaker
    Based more on rumor and supposition than fact. It's a highly entertaining set of hypotheses.
    • 37 Metascore
    • 58 Sean Axmaker
    Director Troy Beyer, who adapted the original screenplay, can't seem to decide if this is a morality play or a music-video fantasy.
    • 64 Metascore
    • 100 Sean Axmaker
    Like the schoolkids in this adventure, from the opening images to the closing credits, I do, I do, I do believe in fairy tales.
    • 50 Metascore
    • 67 Sean Axmaker
    A loving tribute to Hong Kong stuntmen by one of their own, the directorial debut of stuntman-turned-actor Robin Shou ("Mortal Kombat") is a wince-inducing behind-the-scenes look at the way contemporary Hong Kong action cinema is created.
    • 78 Metascore
    • 83 Sean Axmaker
    In a farce like this, where the story is merely a string of martial-arts movie cliches lined up to be parodied, that has its own rewards.
    • 37 Metascore
    • 25 Sean Axmaker
    Welcome to the tawdry end of paradise, where no melodrama is too obvious and no conflict too contrived.
    • 36 Metascore
    • 67 Sean Axmaker
    A B-movie goof on an A-minus budget, Returner is a mini-epic tweaked with computer effects and one blazing gun battle after another and set to an anonymous techno-beat.
    • 72 Metascore
    • 58 Sean Axmaker
    Autobiographical or not, the frankness and family hysteria of this rolling therapy session gets awkwardly intimate and at times tough to endure, as much for its raw candor as for its confessional contrivance. Too bad the revelations of past mistakes are more interesting than the story played out screen.
    • 77 Metascore
    • 91 Sean Axmaker
    A beautiful and compassionate work, at once stark, sensory and spiritually grasping, that challenges us to forgive even the most monstrous sins.
    • 19 Metascore
    • 25 Sean Axmaker
    Afraid to pitch into farce, yet only half-hearted in its spy mechanics, All the Queen's Men is finally just one long drag.
    • 18 Metascore
    • 42 Sean Axmaker
    For all the hot air expended, this film ends up all smoke and no heat.
    • 81 Metascore
    • 91 Sean Axmaker
    A witty little comic gem with a heart and a soul.
    • 57 Metascore
    • 50 Sean Axmaker
    Ball's snide humor and cynical arrogance undercut his message at every turn.
    • 65 Metascore
    • 67 Sean Axmaker
    A convincing and compelling community of characters with a sure comic sense and an at times screwball sensibility.
    • 55 Metascore
    • 83 Sean Axmaker
    A satisfyingly nasty piece of work so black and cruel it's often more sick than funny.
    • 75 Metascore
    • 91 Sean Axmaker
    Winterbottom's compassion transforms In This World from a political statement into an eloquent and involving human drama.
    • 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.
    • 69 Metascore
    • 75 Sean Axmaker
    It's a little visually precious and obscure but still a marvelously wistful film of regret and retreat, in which even the magic wine of forgetfulness erases only the memories, not the pain.
    • 80 Metascore
    • 100 Sean Axmaker
    It's a tender, tough, uncompromising film, photographed with a disarming directness and seeming simplicity that looks almost naked next to the dramatic constructions of most films. It just makes her precariousness all the more real.
    • 57 Metascore
    • 75 Sean Axmaker
    It's a pleasure to see mature portraits of adult characters who put their vulnerabilities on the line. I enjoyed my time in the company of these strangers.
    • 64 Metascore
    • 75 Sean Axmaker
    Surprisingly sweet and infectious.
    • 54 Metascore
    • 58 Sean Axmaker
    There's simply nobody beneath the derisive attitude worth caring about.
    • 74 Metascore
    • 75 Sean Axmaker
    Chabrol's deliberate and drawn-out observations often work against the dramatic tension, but his gift is making the audience believe that emotion and obsession trump logic for these deluded characters.
    • 55 Metascore
    • 58 Sean Axmaker
    It's more ambitious and passionate than thoughtful. Singleton is better at criticizing than understanding, and he leaves too many characters lacking a legitimate voice.
    • 66 Metascore
    • 75 Sean Axmaker
    The Pangs are at their best playing in the style sandbox, creating shivery imagery and eerie moods while exploring nothing deeper than irony and unease, as their climax so effectively demonstrates.
    • 47 Metascore
    • 67 Sean Axmaker
    The charisma of L'il Bow Wow's spirited screen presence turn a contemporary Cinderella gimmick and a by-the-numbers script into a better film than anyone would have expected.
    • 84 Metascore
    • 100 Sean Axmaker
    For all the ephemeral pleasure of the company of old friends, there is a chasm between them and the dynamics shift from moment to moment. The beauty of the film is how director Kelly Reichardt brilliantly captures those moments with lucid simplicity.
    • 44 Metascore
    • 67 Sean Axmaker
    Never quite shakes itself free of the tired cliche that street people are quirky, sometimes cute, and somehow privy to a spiritual purity lost to us social folk.
    • 13 Metascore
    • 83 Sean Axmaker
    Confidently directed and elegantly designed, this smart drama is sensitive, sympathetic and refreshingly free of glib moralizing.
    • 93 Metascore
    • 100 Sean Axmaker
    A masterpiece.
    • 70 Metascore
    • 75 Sean Axmaker
    It's Kang's first feature and it suffers from rocky moments and an unsure eye, but his sense of detail is rich with prickly contradictions and he resists tidying up the story.
    • 48 Metascore
    • 50 Sean Axmaker
    The ploddingly literal screenplay by John Logan doesn't help matters.
    • 44 Metascore
    • 50 Sean Axmaker
    The best scenes belong to Tucker and director Brett Ratner keys in to his timing, whether it's a Chinese twist on "Who's on First" or a seduction scene in which Tucker blurts out every impulse.
    • 86 Metascore
    • 100 Sean Axmaker
    Hou's first film made outside of Asia is his most emotionally turbulent, yet he remains, like the balloon, outside looking in, a compassionate but distant observer capturing it all with a graceful restraint and floating beauty that ultimately carried me away with it.
    • 37 Metascore
    • 50 Sean Axmaker
    First-time director Billie Woodruff, a music video veteran, busts his moves in the dance scenes while the movie throbs to the beat of the wall-to-wall soundtrack.
    • 57 Metascore
    • 83 Sean Axmaker
    This is a film about anger, shame and helplessness, and it offers no answers, merely hard questions and angry challenges.
    • 74 Metascore
    • 75 Sean Axmaker
    It's an old-fashioned Soviet road movie, filled with kind souls of the otherwise desperate (and at times predatory) world.
    • 36 Metascore
    • 58 Sean Axmaker
    The unchecked enthusiasm of McGinley as the touchy-feely renovation guru gives slow-burn Cube the perfect foil and mellows the malicious comic tone. The rest is pure slapstick.
    • 79 Metascore
    • 100 Sean Axmaker
    This bracing portrait of a woman who painfully accepts her responsibility as a citizen is a revelation.
    • 19 Metascore
    • 25 Sean Axmaker
    It's so sloppy that the flashback montage includes clips from scenes that were cut from the film!
    • 56 Metascore
    • 83 Sean Axmaker
    Park is neither glib nor pedantic as he charts the vicious circle that leaves victims in its wake, unintentional and premeditated, and takes its dehumanizing toll on his increasingly brutal heroes.
    • 78 Metascore
    • 91 Sean Axmaker
    What gives the story resonance is the tenderness and sacrifice and even innocence del Toro reveals amid the savagery.
    • 45 Metascore
    • 50 Sean Axmaker
    At least Lin's local color make the idiocy fun to watch.
    • 58 Metascore
    • 67 Sean Axmaker
    Gozu is prime evidence in the argument that gonzo gangster movie maverick Takashi Miike is a major director goofing on minor works.
    • 62 Metascore
    • 50 Sean Axmaker
    A good-faith effort, if not completely successful.
    • 46 Metascore
    • 50 Sean Axmaker
    Writer/director Jordan Roberts aims for heartwarming drama and settles for tepid entertainment.
    • 26 Metascore
    • 67 Sean Axmaker
    In a summer of cardboard figures in splashy spectacles, that makes for a refreshing change, an intriguing, entertaining and altogether sweetly mystifying misfire. In other words, another quintessentially Alan Rudolph picture.
    • 32 Metascore
    • 33 Sean Axmaker
    Isn't merely bad, it's utterly flavorless and the filmmakers are either too lazy or too cynical to even pretend there's a story behind Lawrence's 21st century homeboy shtick in 14th-century garb.
    • 68 Metascore
    • 75 Sean Axmaker
    It's remarkably bright, funny and sweet for a film that wades through so much sleaze, though it can't escape all of the weirdness it worms through.
    • 46 Metascore
    • 42 Sean Axmaker
    Not extreme enough to skate the edge of tasteless farce and not straight enough to play the material for edgy satire, The Ringer is a cheat right down to the final stretch. Breaking the rules should be more fun than this.
    • 57 Metascore
    • 67 Sean Axmaker
    It's a passionate film powered by the righteous anger of injustice.
    • 52 Metascore
    • 50 Sean Axmaker
    It all feels false and calculated, an overearnest attempt to find old-fashioned romantic innocence in the modern world by someone too jaded to believe.
    • 61 Metascore
    • 75 Sean Axmaker
    A summer movie that knows it's a summer movie. You don't go to this film for the story, but for the scenery: Bikini-clad girls riding waves, surf photography as beautiful as it is breathtaking, sun, surf, sand, even a little PG-13 romance.
    • 54 Metascore
    • 67 Sean Axmaker
    At best, it's an inspired piece of free-association pop art held together by sheer momentum, at worst a noisy mess of juvenile nonsense passing itself off as a movie.
    • 56 Metascore
    • 50 Sean Axmaker
    When the spectacle turns ridiculous, the movie just becomes another big-screen video game.
    • 71 Metascore
    • 83 Sean Axmaker
    Where you might expect either overheated teen melodrama or cartoonish farce, Nobuhiro creates a lively, engaging, character-driven piece with flourishes of offbeat humor dancing around the dynamics of the foursome as they pull together in rehearsals.
    • 70 Metascore
    • 100 Sean Axmaker
    Morris challenges us to understand what the pictures show and what they don't show, and to see them in context. And he confronts us with the most important question surrounding them: Do they reveal a crime, an aberration in the system or standard operating procedure?
    • 38 Metascore
    • 42 Sean Axmaker
    For all the bludgeoning insistence of Kramer's contrived plots and blunt direction, there's not much conviction to the outrage.
    • 66 Metascore
    • 83 Sean Axmaker
    A smart, savvy and satisfying Hollywood comedy.
    • 49 Metascore
    • 67 Sean Axmaker
    Uncompromising, unpleasant and emotionally brutal, this twisted love story of emotional bondage is oddly compelling.
    • 33 Metascore
    • 67 Sean Axmaker
    Empowers its 14-year-olds and comes through with a Cinderella story sure to charm every girl who isn't part of the cool clique.
    • 57 Metascore
    • 67 Sean Axmaker
    This coming-of-age tale is ultimately about self, not sex.
    • 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.
    • 30 Metascore
    • 42 Sean Axmaker
    Don't watch this film unless you have a high tolerance and an undemanding appreciation for penis jokes and humor based more on a capacity to disgust than to surprise.
    • 84 Metascore
    • 83 Sean Axmaker
    It lacks history, background and cultural roots, but it's undeniably infectious.
    • 60 Metascore
    • 83 Sean Axmaker
    The biggest surprise for Miike fans and musical lovers alike is that for all the black humor of this deliriously bizarre fantasy "Happiness" is a warmhearted film about sacrifice, support and four generations of family togetherness.
    • 30 Metascore
    • 42 Sean Axmaker
    A stiff of a supernatural comedy.
    • 63 Metascore
    • 67 Sean Axmaker
    It feels too self-satisfied, but the prickly personalities and relationships have the ring of experience.
    • 59 Metascore
    • 100 Sean Axmaker
    The plot is often bewilderingly complex and the dense layers of subterfuge hard to follow, but by the climax the fairy tale has been twisted into a fascist fable of realpolitik mercenary opportunism.
    • 35 Metascore
    • 75 Sean Axmaker
    Never comes alive.
    • 52 Metascore
    • 75 Sean Axmaker
    Almost 30 years later, it's just as primal.
    • 72 Metascore
    • 67 Sean Axmaker
    Never quite escapes the Euro-centric blinders of its characters, but its engagement with their evolving sense of identity and story of empowerment and acceptance is nonetheless rousing.
    • 90 Metascore
    • 100 Sean Axmaker
    There are two kinds of people, my friend. Those who love Sergio Leone's The Good, the Bad, and the Ugly, and those who resist the machismo and gallows humor of what is arguably the definitive spaghetti western.
    • 35 Metascore
    • 58 Sean Axmaker
    Seeks to shock and to outrage, and so far it's done both quite nicely.
    • 75 Metascore
    • 83 Sean Axmaker
    Sweet and sour and sexy.
    • 59 Metascore
    • 75 Sean Axmaker
    Romero's satire is largely replaced by a sardonic gallows humor (the zombie-shooting contest is as funny as it is grotesque), but otherwise it's a bloody entertaining zombie apocalypse.
    • 51 Metascore
    • 75 Sean Axmaker
    The film attempts to put Zizek's philosophy into practical, accessible terms. Accessible, of course, being a relative term.
    • 76 Metascore
    • 100 Sean Axmaker
    Think of easy jazz or soft soul, with Rudolph's cinematic improvisations soaring and circling the melody while adding quirky variations.
    • 74 Metascore
    • 91 Sean Axmaker
    Joaquin Phoenix is as good as he has ever been in James Gray's Two Lovers, a discomfortingly honest drama about the frustrations of love and desire.
    • 64 Metascore
    • 67 Sean Axmaker
    It's a reductive moral to a story full of fascinating contradictions, but Bailey and Barbato draw a convincing line between the social and political atmosphere of the film and the culture wars of today. The issues are still very much alive.
    • 60 Metascore
    • 67 Sean Axmaker
    This a film where men on both sides of the line are seasoned and efficient. Men after Mamet's own heart.
    • 64 Metascore
    • 42 Sean Axmaker
    The official R rating is for "strong language, sexual content, drug use and some crude humor," but the MPAA is just being polite. It's all crude.
    • 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.
    • 41 Metascore
    • 42 Sean Axmaker
    The few genuine moments of connection -- are as refreshing as they are out of place. They only highlight how false and affected the rest of the film is.
    • 37 Metascore
    • 50 Sean Axmaker
    You'd hope God would think bigger for His divine intervention in American politics.
    • 64 Metascore
    • 75 Sean Axmaker
    If Arlyck's own life feels unworthy of the attention, Sean's illuminating, unconventional and contemporary story makes up for it.
    • 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.
    • 42 Metascore
    • 58 Sean Axmaker
    It's bright, colorful and udder-ly unmemorable.
    • 28 Metascore
    • 50 Sean Axmaker
    This half-baked production sat on Miramax's shelf for a couple of years. It's no more done now than then, merely more stale.
    • 56 Metascore
    • 58 Sean Axmaker
    Well-intentioned but not very well directed, it makes for a better psychological profile than a film.
    • 96 Metascore
    • 91 Sean Axmaker
    Long for an animated feature and too demanding for very young children, but it's also filled with delights.
    • 79 Metascore
    • 83 Sean Axmaker
    Affliction has rarely been so sensitively explored.
    • 83 Metascore
    • 91 Sean Axmaker
    Shooting with a respectful remove that captures an intimacy by sheer doggedness, Finkiel creates a rich atmosphere by simply looking, listening and peering past the surfaces.
    • 81 Metascore
    • 75 Sean Axmaker
    The live camel birth (shown in all of its excruciating beauty) is enthralling, and the cultural details, however staged, provide a vivid window into a world that is fast disappearing.
    • 48 Metascore
    • 50 Sean Axmaker
    It wobbles between a conventionally quirky lighthearted goof and an oddball farce in which character is sacrificed for sight gags.
    • 68 Metascore
    • 67 Sean Axmaker
    Techine has a delicate touch and these lovely moments flow with a life that Martin's heavy, stumbling psychodrama can't match.
    • 63 Metascore
    • 67 Sean Axmaker
    But if her wisp of a story rushes the simple connection between the women, the actresses fill in the details with an easy, unforced intimacy.
    • 73 Metascore
    • 67 Sean Axmaker
    The annoying shaky-cam style so common to such indie dramas is toned down to a dreamy sway and the image drifts in and out of focus in scenes of heightened emotions. It's like waking from a daze and getting your bearings; the effect is both unsettling and calming.
    • 67 Metascore
    • 75 Sean Axmaker
    The colorful cultural history lesson in an idiosyncratic key is entertaining and informative, if a little indulgent in its adoration of Roth and his counter-car culture.
    • 66 Metascore
    • 67 Sean Axmaker
    Rodriguez has the chops of a smart-aleck film school brat and the imagination of a big kid, and they come together to remake the world in the image of its young audience. It's more amusement park ride than adventure, which in this case is exactly the demographic he's reaching for.
    • 44 Metascore
    • 58 Sean Axmaker
    There's a gripping thriller between the gaps in logic. Director Florent Siri has a tough style and an unforgiving attitude, but it drowns in the queasy blood lust.
    • 74 Metascore
    • 75 Sean Axmaker
    Garcia's dialogue is wonderfully crafted, short, sharp and resonant, and her elegant direction is delicate and handsome.
    • 63 Metascore
    • 75 Sean Axmaker
    Behind the dry humor is a sense of hollowness in the two men who obliviously fall back into old patterns of reckless, loveless sex without missing a beat.
    • 48 Metascore
    • 67 Sean Axmaker
    Amanda Peet exudes her patented mix of charm, beauty, humor and smarts as the best friend who may become more than a friend.
    • 28 Metascore
    • 42 Sean Axmaker
    Plays like a feature-length sitcom with gay double entendres.
    • 80 Metascore
    • 100 Sean Axmaker
    A classic fairy tale with a contemporary sensibility and a spooky horror under the candy-house fantasy.
    • 75 Metascore
    • 75 Sean Axmaker
    This is full of talk in the European art cinema tradition: intellectual conversations (often in multiple languages at once), gentile dinner conversation with an international all-star guest list.
    • 67 Metascore
    • 67 Sean Axmaker
    The story is slim but the script is snappy and the film moves with a fluid rhythm that charges up to a rollercoaster pace.
    • 43 Metascore
    • 50 Sean Axmaker
    This larger-than-life cartoon of a trained dog has more character than the two-legged co-stars.
    • 65 Metascore
    • 75 Sean Axmaker
    Haggis drops exclamation points after his symbolic gestures, but in the rush to drive home his message on the confused mission in Iraq he offers a queasy revisionism that all but denies the legacy of Vietnam. Considering Deerfield is a Vietnam vet, it feels doubly false.
    • 65 Metascore
    • 83 Sean Axmaker
    This community finds its balance with an easy effortlessness.
    • 90 Metascore
    • 100 Sean Axmaker
    What's most devastating in Capturing the Friedmans is how Jarecki puts the sureness of justice into doubt as he shows Truth (with a capital T) at the mercy of perspective and perception, context and emotion.
    • 61 Metascore
    • 67 Sean Axmaker
    The perfectly dressed surfaces couldn't be more lovely, but the long fashion show to the finale smothers the emotions under the length and the look, and Lee's insights into the messy feelings that simmer and stew in the hothouse of sex are, frankly, fairly mundane.
    • 53 Metascore
    • 75 Sean Axmaker
    Looks to be this season's family animal comedy.
    • 84 Metascore
    • 83 Sean Axmaker
    Sautet lets the film wander from Ventura's desperate odyssey, but when the irresistibly charming young Jean-Paul Belmondo enters the picture as an unflaggingly loyal ally, his wandering is forgiven.
    • 64 Metascore
    • 58 Sean Axmaker
    The warmth of Baker as the cuddly nature boy (another idealized image, certainly, but a romantic one) and the intelligence and fire of Lathan give the lesson, and movie, just enough heart to make it enjoyable.
    • 78 Metascore
    • 100 Sean Axmaker
    Aoyama's monochrome images are filled with a simple shadowy beauty and his scenes are rich in tender sensitivity and empathy.
    • 74 Metascore
    • 100 Sean Axmaker
    When Riyadh's family jokes about the purple stain that marks them as resistance targets after they vote, the black humor speaks volumes about them as individuals, as Sunnis and as Iraqis with a dream of a better way.
    • 55 Metascore
    • 100 Sean Axmaker
    Inspiring without sinking into sentimentality or cliche, Hearts of Atlantis is intelligent, heartfelt and genuine, a rare story of childhood for adults.
    • 80 Metascore
    • 83 Sean Axmaker
    It may not keep you guessing to the end, but there are enough surprises and wry revelations, right down to the last play, to make this a most satisfying cinematic confidence game.
    • 38 Metascore
    • 75 Sean Axmaker
    Kassovitz directs with an unrelenting intensity that helps you to suspend disbelief almost all the way to the credits.
    • 79 Metascore
    • 75 Sean Axmaker
    It all feels like a performance for the camera: von Trier as madman producer taunting the elder filmmaker.
    • 55 Metascore
    • 50 Sean Axmaker
    Peter Riegert's is a labor of love film where you feel love much stronger than you feel the film.
    • 98 Metascore
    • 100 Sean Axmaker
    Like the folk tales from centuries past, Pan's Labyrinth is a dark odyssey with nightmarish visions and cruel threats, but coming through the sacrifice and suffering is the childlike belief in magic and imagination that for Del Toro represents the hope and optimism of a happily ever after in this cruel world.
    • 77 Metascore
    • 75 Sean Axmaker
    As dazzling as they come, a visual pageant of strange undersea creatures hunting and scavenging and floating across the screen.
    • 43 Metascore
    • 58 Sean Axmaker
    For all of its good-natured guff, Jersey Girl chooses uncomplicated sentiment over the messy complications of real life.
    • 56 Metascore
    • 67 Sean Axmaker
    An acid movie flashback a la Oliver Stone.
    • 57 Metascore
    • 67 Sean Axmaker
    The "guest cast" includes Philip Seymour Hoffman, Allison Janney and Sarah Jessica Parker, but all are upstaged by Greg Hollimon's cheerfully corrupt Principal Blackman and Sedaris.
    • 61 Metascore
    • 83 Sean Axmaker
    Pfeiffer devours every one of her scenes with a ferocious performance.
    • 56 Metascore
    • 83 Sean Axmaker
    Completely -- and quite cleverly -- contrived, a cascade of stupid mistakes and miscommunication stirred into a visceral stew of gooey blisters and flaying layers of bloody flesh.
    • 41 Metascore
    • 42 Sean Axmaker
    More than painful to behold, it's simply insincere in a film determined to undermine gay stereotypes.
    • 82 Metascore
    • 50 Sean Axmaker
    The script is as sloppy as Song's unkempt cop, sprinkled with intriguing ideas and imaginative details that, like the investigation, simply get lost in blind alleys.
    • 56 Metascore
    • 75 Sean Axmaker
    The messy emotions and illogic of human nature defines this drama.
    • 70 Metascore
    • 83 Sean Axmaker
    This scruffy, unkempt tale lacks the narrative satisfaction of Kaufman's dramatic design, but between the chaotic zigs and creative jags, it proclaims its own kind of messy authenticity and a bittersweet beauty.
    • 56 Metascore
    • 58 Sean Axmaker
    Hodges cuts the film like a diamond, but it's just an exercise in cut glass, an impressive surface that only looks tough.
    • 62 Metascore
    • 67 Sean Axmaker
    It never achieves the bleak poetry and tawdry tragedy of the best examples of the genre, but the understated humor is nicely played by Cusack and Thornton.
    • 59 Metascore
    • 75 Sean Axmaker
    Imagine the sequel to "Clueless" reconceived as a peroxide "Paper Chase" and punched up with a valley girl version of "My Cousin Vinny" for the climax.
    • 95 Metascore
    • 91 Sean Axmaker
    A charmer of a film and a delightful piece of storytelling.
    • 82 Metascore
    • 100 Sean Axmaker
    With The Dark Knight, the cinematic superhero spectacle comes closest to becoming modern myth, a pulp tragedy with costumed players and elevated stakes and terrible sacrifices. It's the new gold standard for superhero noir.
    • 64 Metascore
    • 83 Sean Axmaker
    If you're sick of the gross-out gags and sex jokes of contemporary teen comedy, this defiant blast of idiosyncratic individuality just could be your tonic.
    • 70 Metascore
    • 67 Sean Axmaker
    A sweet little comedy, as easygoing and warmly innocuous as the benign irony of the title.
    • 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.
    • 63 Metascore
    • 75 Sean Axmaker
    Silverman is funny and, more often than not, so is the film.
    • 47 Metascore
    • 42 Sean Axmaker
    Von Trier is far more hypocritical than his straw-figure characters, and he's simply too cynical and insincere to be provocative.
    • 51 Metascore
    • 50 Sean Axmaker
    Even a one-two punch from Australian stars Guy Pearce and Rachel Griffiths, who are wryly good in this crime caper, can't keep it from sinking into a cavern of cliches.
    • 43 Metascore
    • 67 Sean Axmaker
    Beautiful but empty.
    • 57 Metascore
    • 75 Sean Axmaker
    It's the strength of the actresses and their nurturing community that makes this Eden so satisfying.

Top Trailers