For 708 reviews, this critic has graded:
  • 55% higher than the average critic
  • 8% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 0.5 points lower than other critics. (0-100 point scale)

Sheri Linden's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The End of the Tour
Lowest review score: 0 Awakened
Score distribution:
  1. Negative: 46 out of 708
708 movie reviews
    • tbd Metascore
    • 30 Sheri Linden
    Except for a reliably flavorful turn by John Hawkes, compelling in a few key scenes as Henry's accomplice, The Pardon remains stubbornly uninvolving.
    • 36 Metascore
    • 30 Sheri Linden
    First-time director Daniel Duran, working from a screenplay by Oscar Torres that abounds in the maudlin and risible, isn't able to lift the ham-handed material to a place where it might ring true.
    • 24 Metascore
    • 30 Sheri Linden
    Concerned with both physical and psychological hazards of the job, Life on the Line manufactures a pileup of looming disasters to which director David Hackl lends no cadence.
    • 24 Metascore
    • 30 Sheri Linden
    This thin concoction of domestic drama and thriller suspense won't hold up after the curiosity factor runs its brief course. Neither Robert De Niro nor a phalanx of a dozen producers can deliver Godsend from unintentional comedy.
    • 41 Metascore
    • 30 Sheri Linden
    By the time director Alexandre Aja brings together the pieces with an illuminating pang of emotion, most viewers’ confusion will have given way to indifference.
    • 23 Metascore
    • 30 Sheri Linden
    A collection of feeble jokes in the service of green themes. Sustainability never looked so stupid.
    • 33 Metascore
    • 30 Sheri Linden
    The climactic collision of agendas is even more contrived than everything leading to it.
    • 19 Metascore
    • 30 Sheri Linden
    Nick Cannon, playing an L.A. cop who goes undercover as a prep school student, provides the few sparks this wan action-comedy can muster.
    • tbd Metascore
    • 30 Sheri Linden
    The Last Film Festival is stuck in a loop of painfully silly humor, with stars Dennis Hopper and Jacqueline Bisset offering glimmers of the satire that might have been.
    • 14 Metascore
    • 30 Sheri Linden
    To call Don Peyote a mess would be putting too fine a point on it.
    • 36 Metascore
    • 30 Sheri Linden
    This comedy whodunit generates more laughs than its predecessor, which is to say, two or three.
    • 26 Metascore
    • 30 Sheri Linden
    Carmine Gaeta and Luke Davies' screenplay is constructed from plot mechanics, and the emotional stakes grow less convincing with every twist of the screw.
    • 36 Metascore
    • 30 Sheri Linden
    McAvoy and Radcliffe are actors with charm to burn, but it’s only in brief moments that their characterizations cut through the film’s pandemonium, while the jokes they’re called upon to deliver land with a thud.
    • 49 Metascore
    • 30 Sheri Linden
    Insights are few in this fan letter of a documentary.
    • 42 Metascore
    • 30 Sheri Linden
    Howell’s inept pileup of would-be signifiers — a misty quarry, a family crypt, a philosophical beekeeper — gives way to frisson-free horror and unconvincing romance.
    • tbd Metascore
    • 30 Sheri Linden
    With its many story strands and flat direction, the movie lacks a pulse, its ambitious hodgepodge of concepts refusing to jell.
    • 32 Metascore
    • 30 Sheri Linden
    However universal the perennial questions and struggles that The Shack illuminates, under Stuart Hazeldine’s plodding direction, its faith-based brand of self-help feels like being trapped in someone else’s spiritual retreat — in real time.
    • 55 Metascore
    • 30 Sheri Linden
    M. Night Shyamalan’s latest is well cast and strong on setting. But the dull thudding that resounds isn’t part of its effective aural design; it’s the ungainly landing of nearly every shock and joke.
    • tbd Metascore
    • 30 Sheri Linden
    The movie struggles to generate the slightest tension around the question of who’s playing whom, but the real question is, Why bother?
    • 32 Metascore
    • 30 Sheri Linden
    Jeremy Leven's attempt at old-school romantic comedy, set in a postcard-pretty tourist's vision of Paris, is more of a foolish plod than a weightless rollick.
    • 37 Metascore
    • 30 Sheri Linden
    American writer-director Angad Aulakh tries to agitate the pensive set-up with sex and a supposed mystery that never raises the pulse. The Bergman-esque posturing falls so far short of the Swedish master that it wouldn’t even qualify as accidental parody.
    • 7 Metascore
    • 30 Sheri Linden
    Cooper weaves a few well-placed observations about gun culture and male condescension into the heavy-handed mess.
    • 30 Metascore
    • 30 Sheri Linden
    With its faux small-town values, faux countercultural ethos and faux personal struggles, Rita Merson’s debut feature skews closer to delusion than honesty.
    • 9 Metascore
    • 30 Sheri Linden
    The sequel retains not only the same gimmicky premise as the original but its preference for cliche-ridden dialogue and flat-footed comedy as well.
    • 28 Metascore
    • 30 Sheri Linden
    A seemingly tourist-bureau-sanctioned travelogue posing as a romantic drama.
    • 40 Metascore
    • 30 Sheri Linden
    Straight out of the slice-and-dice school of filmmaking, Vantage Point fractures chronology and perspective in a vain attempt to disguise its flimsiness.
    • 29 Metascore
    • 30 Sheri Linden
    Aaron Zigman’s score provides reassuring downhome uplift — perhaps a necessary element in a tale of impossible, perfect love, where everything happens for a reason and is as it should be, even when it’s terrible.
    • 37 Metascore
    • 30 Sheri Linden
    Like many a biopic before it, Winnie Mandela shoehorns an exceptional life into the standard template of a highlights reel, lurching from one Important Moment to the next.
    • 30 Metascore
    • 30 Sheri Linden
    The movie opens with the suggestion that it will address the generational divide, but it has nothing of substance to say.
    • 29 Metascore
    • 30 Sheri Linden
    A good idea for a ghost story is dead on arrival in The Condemned, a would-be thriller whose intended horror-tinged chills register as ho-hum hokum.

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