Stephanie Zacharek, Salon.com
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For 1,010 reviews, this critic has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 0.9 points lower than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
Average review score: 58
Highest review score: 100 Ratatouille
Lowest review score: 0 Speed Racer
Score distribution:
1,010 movie reviews
    • 52 Metascore
    • 50 Stephanie Zacharek
    Suffers from a lack of conviction.
    • 48 Metascore
    • 50 Stephanie Zacharek
    So unself-conscious and breezy that you find yourself sailing along with it; its flaws become as negligible as harmless barnacles nestled well below the water line.
    • 47 Metascore
    • 50 Stephanie Zacharek
    Mel Gibson may have changed the face of cinema forever. I think he has: He's made the first true Jesusploitation flick, a picture that, despite its self-righteous air of grave religiosity, is barely spiritual at all.
    • 55 Metascore
    • 50 Stephanie Zacharek
    Even as a nostalgia ride, Starsky & Hutch poops out before it ever gets going.
    • 46 Metascore
    • 50 Stephanie Zacharek
    Instead of taking us someplace we fear to go, Secret Window leads us to a place we've already been -- we know it so well, we could write the book on it ourselves.
    • 60 Metascore
    • 50 Stephanie Zacharek
    Spartan is the same old stuff, but now it's been thoroughly Mametized, like a spray-on treatment you could spritz out of a can.
    • 42 Metascore
    • 50 Stephanie Zacharek
    The Replacement Killers has a plot -- barely -- but no story.
    • 44 Metascore
    • 50 Stephanie Zacharek
    Isn't really a movie but a blatant girls' night out vehicle.
    • 62 Metascore
    • 50 Stephanie Zacharek
    The reality is that it's neither hip nor funny: Instead, it's excessively broad one minute and unctuously instructional the next.
    • 49 Metascore
    • 50 Stephanie Zacharek
    Never as delightful and silly as it needs to be. The action is often manic, and there's a veneer of unapologetic corniness to it.
    • 59 Metascore
    • 50 Stephanie Zacharek
    I, Robot strives to be so many things that it ultimately falls away to nothing, a heap of expensive metal parts.
    • 76 Metascore
    • 50 Stephanie Zacharek
    Toothless, gutless, one-note political movies like Jonathan Demme's The Manchurian Candidate, a picture that purports to have a galvanizing, liberal-minded theme (big business is taking over our country and our lives) but is really just ploddingly pedestrian.
    • 64 Metascore
    • 50 Stephanie Zacharek
    So captivating to look at that you can almost forget there's virtually nothing to it.
    • 50 Metascore
    • 50 Stephanie Zacharek
    A little like the '80s crowd-pleaser "Ghost," but way artier.
    • 49 Metascore
    • 50 Stephanie Zacharek
    The difference is that Michael Caine delivered the impossible; Jude Law can't.
    • 52 Metascore
    • 50 Stephanie Zacharek
    Here, Lynch has traded some of his disturbing originality for noir formula and schticky weirdness.
    • 39 Metascore
    • 50 Stephanie Zacharek
    Jon Voight shows up as Ben's daddy, and Harvey Keitel plays a devilishly goateed FBI agent: They're the only two actors who seem to have a sense of how ridiculous National Treasure is, but there's not enough of them to carry the picture.
    • 65 Metascore
    • 50 Stephanie Zacharek
    So bloodless that it feels like an act of arty dishonesty.
    • 62 Metascore
    • 50 Stephanie Zacharek
    Overburdened with knowingly charming touches. It's waterlogged with whimsy.
    • 41 Metascore
    • 50 Stephanie Zacharek
    If there's any reason to bother with Meet the Fockers, it's to see Hoffman and Streisand.
    • 72 Metascore
    • 50 Stephanie Zacharek
    It's dull in a very tasteful way, with none of the reverberating tenderness and sometimes surly vigor that characterize Rohmer's best work, things like "Summer" and "The Aviator's Wife."
    • 40 Metascore
    • 50 Stephanie Zacharek
    A simple entertainment that's by and large carried on the backs of its actors, some who are wonderful and others who are merely likable.
    • 30 Metascore
    • 50 Stephanie Zacharek
    Does feature one or two jump-out-of-your-skin moments.
    • 35 Metascore
    • 50 Stephanie Zacharek
    Through its first two-thirds, at least, Hide and Seek does a good enough job of piquing our curiosity that the movie's ultimate dumbness is more than a minor insult.
    • 36 Metascore
    • 50 Stephanie Zacharek
    As lousy as it is, Diary of a Mad Black Woman is weirdly fascinating.
    • 44 Metascore
    • 50 Stephanie Zacharek
    A disappointingly blunt, monochrome work.
    • 49 Metascore
    • 50 Stephanie Zacharek
    The super-duper whiteness of Ashton Kutcher is funny. Just not funny enough.
    • 56 Metascore
    • 50 Stephanie Zacharek
    Fever Pitch lacks that Farrelly spark, that warm, crazy glint.
    • 62 Metascore
    • 50 Stephanie Zacharek
    The Interpreter is so intent on reminding us that it's a QUALITY piece of work that it forgets to give us the very thing we thought we came in for: a story.
    • 48 Metascore
    • 50 Stephanie Zacharek
    The big screen doesn't seem to like Kutcher much, or even to GET him, whatever there is to get.
    • 80 Metascore
    • 50 Stephanie Zacharek
    The plot of Howl's Moving Castle meanders so listlessly that its details become less and less charming.
    • 34 Metascore
    • 50 Stephanie Zacharek
    Kidman will have the last laugh; not even Ephron, with her dumb flying house of a movie, can crush her magic.
    • 40 Metascore
    • 50 Stephanie Zacharek
    Fantastic Four doesn't expand on, or even illuminate, anything much beyond the most basic theme of what it feels like to be an adolescent misfit. This is a comic-book movie that actually makes an effort not to go over kids' heads.
    • 50 Metascore
    • 50 Stephanie Zacharek
    The Island walks a weird, wobbly line between being stupid, falsely fattened-up entertainment and a picture that just might have possibly been made by a person with a brain -- a scrambled one, but a brain nonetheless.
    • 60 Metascore
    • 50 Stephanie Zacharek
    Herman isn't sure if he's doing a big-statement picture or a tiny treasure of a comedy, and his confusion throws Brassed Off off balance.
    • 51 Metascore
    • 50 Stephanie Zacharek
    Although The Brothers Grimm is partly an inventive fantasy, it's also a cluttered, jangly action picture, and there's too much noise and commotion for Gilliam's subtler ideas to really resonate.
    • 49 Metascore
    • 50 Stephanie Zacharek
    The picture is outrageously predictable and somewhat poky, but there's also something admirably bold about the way it so adamantly demands we swallow its hokum.
    • 64 Metascore
    • 50 Stephanie Zacharek
    Proof isn't just a movie about mathematics; it's a mathematical movie. The scenes may as well have been laid out by diagram.
    • 58 Metascore
    • 50 Stephanie Zacharek
    Snaps to life too late. But at least there IS life in it. It doesn't hold together as a piece of filmmaking, but there's no doubt it comes from somewhere close to Schreiber's heart.
    • 36 Metascore
    • 50 Stephanie Zacharek
    The picture is an exercise in exploitation joi de vivre, and your enjoyment of it will depend on your tolerance for shameless, reckless, unredemptive violence with relatively little artistic or spiritual value. After all, there's a time and a place for everything.
    • 58 Metascore
    • 50 Stephanie Zacharek
    But as badly as the younger women in The First Wives Club are treated, none of the three central characters, with whom we're supposed to identify so strongly, comes off that well either.
    • 61 Metascore
    • 50 Stephanie Zacharek
    There are moments when Cage (with his perpetually worried eyebrows) and Caine (with his inherent emotional elegance) carry the picture admirably enough.
    • 58 Metascore
    • 50 Stephanie Zacharek
    Mendes doesn't care about people -- he's too busy making his art. And with Jarhead he pulls off, effortlessly, what so many pro-and antiwar individuals since Vietnam have tried so conscientiously to avoid: His movie is antiwar and anti-soldier.
    • 53 Metascore
    • 50 Stephanie Zacharek
    I wasn't sure a movie musical could be worse than last year's styrofoam-and-gilt swan-boat travesty "Phantom of the Opera," but I'm afraid Rent proves me wrong.
    • 54 Metascore
    • 50 Stephanie Zacharek
    There's no life, no juice, in the picture. Instead of tempting you into submission, it merely drugs you. It's surprising that a filmmaker who gave us such a lively debut, "Chicago," could slap us with a picture as dull and worthy as this one.
    • 87 Metascore
    • 50 Stephanie Zacharek
    Takes great pains to be a compassionate love story; but the filmmaking itself, self-consciously restrained and desiccated, is inert and inexpressive.
    • 72 Metascore
    • 50 Stephanie Zacharek
    Match Point is a fatally neat exercise in detached craftsmanship, and maybe that's the best we can expect from Allen at this point.
    • 69 Metascore
    • 50 Stephanie Zacharek
    This is like a Tony Scott movie on quaaludes: Words and pictures are matched up in counterintuitive ways, and although the cutting is much slower than in Scott's hyperactive showboating, it makes just about as much sense. The movie's leisureliness is aggressive; the picture is artfully designed to make you feel that if you're bored, it's your own damn fault.
    • 53 Metascore
    • 50 Stephanie Zacharek
    The movie has a perversely unifying effect: Muslims, Christians and Jews may not be able to agree on exactly who the heck Jesus is, but they're fully capable of bonding in boredom.
    • 37 Metascore
    • 50 Stephanie Zacharek
    Like so many disappointing movies, it's peopled by performers who do their damnedest to make the whole thing work.
    • 64 Metascore
    • 50 Stephanie Zacharek
    This is one of those lazy, lukewarm pictures that's even more disappointing than a purely bad one, and for one glaring reason: How could Marshall, his writers, and even his actors have let these dogs down so badly?
    • 43 Metascore
    • 50 Stephanie Zacharek
    Freedomland, overall, could have been so much better. But Moore, even in a performance as patchy as this one, is something to watch. She's an echo of the movie that might have been.
    • 47 Metascore
    • 50 Stephanie Zacharek
    Deschanel may not be as brilliant as the great comedian Gracie Allen (and, at any rate, it's too soon to tell). But her Rube Goldberg timing (which only seems indirect) and blissfully zonked demeanor suggest the spirit of Allen. She's the only actor in Failure to Launch who isn't earthbound; she leaves everyone else in the dust simply by hanging back.
    • 53 Metascore
    • 50 Stephanie Zacharek
    With its wiry twists and turns, ends up buckling under the weight of its own cleverness.
    • 66 Metascore
    • 50 Stephanie Zacharek
    Clearly designed to be an action thriller with emotional underpinnings. But you can't get blood from a stone, no matter how hard you squeeze. And so Cruise, a huge box-office star, is the single bright, blinking emblem of the failure of Mission: Impossible III.
    • 46 Metascore
    • 50 Stephanie Zacharek
    Disappointingly tame.
    • 65 Metascore
    • 50 Stephanie Zacharek
    While Jacobson navigates the first half of Down in the Valley deftly, he loses his way in the second.
    • 50 Metascore
    • 50 Stephanie Zacharek
    An acceptably entertaining picture. At just 100 minutes long, it feels tight and trim, and unlike so many contemporary action pictures, it boasts only one ending, instead of three false ones. What's more, it's just as dumb as the original.
    • 62 Metascore
    • 50 Stephanie Zacharek
    Probably supposed to be half fashion fantasy, half satire of the fashion world. What a drag that it's not enough of either.
    • 46 Metascore
    • 50 Stephanie Zacharek
    Everything about You, Me and Dupree, even the toilet humor, is tepid and rigorously inoffensive
    • 51 Metascore
    • 50 Stephanie Zacharek
    The experience of watching The Night Listener didn't make me feel "real" at all, only stuffed.
    • 63 Metascore
    • 50 Stephanie Zacharek
    The movie is straightforward in a way that makes it feel less manipulative than it might.
    • 49 Metascore
    • 50 Stephanie Zacharek
    The plot has been greatly streamlined from Ellroy's book, but even so, it isn't any clearer, and the ending, convoluted and barely believable, hits with a thud.
    • 52 Metascore
    • 50 Stephanie Zacharek
    Baldwin brings so much lumbering weariness to his role that we can't help feeling something for his character
    • 66 Metascore
    • 50 Stephanie Zacharek
    The Prestige is a trick box with too many false bottoms. Ultimately, the last one simply gives way -- leaving us with a hole, and a little residual darkness, but not much else.
    • 62 Metascore
    • 50 Stephanie Zacharek
    Catch a Fire just doesn't spark.
    • 67 Metascore
    • 50 Stephanie Zacharek
    The picture is an overworked trifle: There's so much going on in it that it becomes hard to care about ANYTHING that's going on in it. The story in Stranger Than Fiction is stranger than fiction. But what good is it if it's unreadable?
    • 64 Metascore
    • 50 Stephanie Zacharek
    The movie is designed to stir up controversy. (Linklater and Schlosser have admitted as much.) But can you really stir up controversy with a lesson plan?
    • 54 Metascore
    • 50 Stephanie Zacharek
    Just when you think you've got a handle on the central characters in Bobby, yet more of them appear: The thing is a little like the stateroom scene in "A Night at the Opera."
    • 59 Metascore
    • 50 Stephanie Zacharek
    To believe Déjà Vu, or even to pretend you can actually follow it, you'll need heavy-duty gear -- harness belt, spelunking helmet, a great deal of rope, PowerBars for sustenance. A little coffee wouldn't hurt, either.
    • 52 Metascore
    • 50 Stephanie Zacharek
    The Holiday drags on for more than two hours, long enough for even the most ardent suitor to lose interest. The premise, so delectable at the start, quickly begins to feel tired and oversold.
    • 56 Metascore
    • 50 Stephanie Zacharek
    Breaking and Entering is so bloodless that even Minghella's best ideas come off as wan and pale.
    • 89 Metascore
    • 50 Stephanie Zacharek
    Eastwood is so busy humanizing Japanese soldiers that he ends up rewriting history.
    • 61 Metascore
    • 50 Stephanie Zacharek
    The Good Shepherd, soft when it needs to be sharp, is all cloak with very little dagger.
    • 78 Metascore
    • 50 Stephanie Zacharek
    Bits of the picture are fascinating to look at, but eventually, exhaustion kicks in, to the point where we're not sure what we're looking at, or why.
    • 61 Metascore
    • 50 Stephanie Zacharek
    A very gentle picture, intended to soothe us, not to jolt or shock us. But it's so gentle that it lacks any discernible energy; sometimes it seems there's barely enough tension in the story to keep the images from sliding off the screen.
    • 64 Metascore
    • 50 Stephanie Zacharek
    While I don't think Blades of Glory is exactly homophobic -- it's not mean-spirited enough for that -- there's something a little too cheap and easy about the way it plays up to the ultra-straight guys in its target demographic.
    • 31 Metascore
    • 50 Stephanie Zacharek
    Perfect Stranger is one of those movies that two years, or two months, from now, you won't recall having seen. Ostensibly a movie about big secrets, it comes up with few that are worth keeping, or telling.
    • 60 Metascore
    • 50 Stephanie Zacharek
    Hayek, with that old-time movie-star pout, those dark, reflective eyes (they could be Satan's twin swimming pools), is the shivery, chilling backbone of Lonely Hearts. Martha Beck couldn't get away with murder. But Salma Hayek can.
    • 68 Metascore
    • 50 Stephanie Zacharek
    The picture is clever, somber, quiet: There's just no reason it has to be as deadly boring as it is.
    • 47 Metascore
    • 50 Stephanie Zacharek
    The picture is so gentle, it barely leaves an impression.
    • 45 Metascore
    • 50 Stephanie Zacharek
    Beneath its drab veil of self-seriousness, Mr. Brooks is nothing but just plain silly.
    • 66 Metascore
    • 50 Stephanie Zacharek
    Dahan's filmmaking damn near sabotages the performance.
    • 45 Metascore
    • 50 Stephanie Zacharek
    More ambitious than its predecessor. It's also more cluttered and less fleet: The light, pleasingly casual quality of the first picture has evolved into something forced and metallic.
    • 64 Metascore
    • 50 Stephanie Zacharek
    One night in 1408 stretches out until it ends up feeling more like a routine three-day business trip. The scariest thing in it may be the way the clock radio has a way of turning itself on, loudly, of its own accord. The song is always the Carpenters' "We've Only Just Begun." Now THAT'S horror.
    • 37 Metascore
    • 50 Stephanie Zacharek
    With its tepid gags and faltering pacing, may not be a very good movie. But at least, within its clumsiness, it strives for some kind of solidarity.
    • 64 Metascore
    • 50 Stephanie Zacharek
    One of those unapologetically cerebral space-exploration sci-fi movies that's both boring and compelling at once.
    • 46 Metascore
    • 50 Stephanie Zacharek
    An adamantly unterrible picture, a reasonably enjoyable diversion.
    • 68 Metascore
    • 50 Stephanie Zacharek
    Represents a breakthrough in the moviegoing experience. It may be the first time we've been asked to watch a book on tape.
    • 55 Metascore
    • 50 Stephanie Zacharek
    If these new, allegedly topical movies are to make us feel anything -- to move us toward any action or even just toward any fresh realization -- they need to at least seem alive on the screen, instead of just courting our polite, measured applause.
    • 46 Metascore
    • 50 Stephanie Zacharek
    Dour, ponderous picture.
    • 76 Metascore
    • 50 Stephanie Zacharek
    Offers only the stingiest platform for its actors, and as a piece of storytelling -- built on the foundation of a great story -- it's an epic that's been sliced and diced into so many little morsels that almost nothing in it has any weight.
    • 54 Metascore
    • 50 Stephanie Zacharek
    Just another ambitious, lavish animated adventure, pretty enough to look at, but ultimately foundering on the weakness of its script.
    • 48 Metascore
    • 50 Stephanie Zacharek
    Before long, the story's conceit -- a loud-and-clear metaphor for the ways in which we all sometimes feel alien when it comes to human relationships -- just becomes wearying.
    • 42 Metascore
    • 50 Stephanie Zacharek
    Fred Claus does feature some very nicely groomed reindeer, a far cry from those patchy, depressed-looking creatures you see every holiday season at the petting zoo. They're prancing and dancing as fast as they can, but they can't pull Fred Claus from the rut it's in.
    • 92 Metascore
    • 50 Stephanie Zacharek
    There are epic impulses everywhere you look in There Will Be Blood; what's missing is character development, focused storytelling and, most significantly (apart from that terrific opening sequence), any sense of raw, intuitive drama.
    • 83 Metascore
    • 50 Stephanie Zacharek
    The picture throws off no feeling, not even the misanthropic kind; at best, it manages a dull, throbbing energy, as if Burton were dutifully pushing his way through the material instead of shaping it.
    • 63 Metascore
    • 50 Stephanie Zacharek
    Funniest in its first half, when you're not quite sure where it's going, and drags in the second, by which time you realize it's going nowhere.
    • 32 Metascore
    • 50 Stephanie Zacharek
    Over and over again, Hoblit misses opportunities to make an engaging picture, instead giving us a merely pedestrian one.
    • 45 Metascore
    • 50 Stephanie Zacharek
    Meet the Browns, like the rest of Tyler Perry's movies and plays, will find its audience. His talent lies in knowing what people will buy. He's a marketer, not a filmmaker.
    • 56 Metascore
    • 50 Stephanie Zacharek
    You have to give Leatherheads this much: It's like no other comedy, or movie, out there these days. Clooney, one of our few old-style Hollywood movie stars himself, obviously loves old-fashioned moviemaking.
    • 76 Metascore
    • 50 Stephanie Zacharek
    It's a late-night infomercial masquerading as a concert movie, more an advertisement for vitality than a picture of vitality itself. There's something self-congratulatory, preening, about both the performance and the filmmaking.
    • 57 Metascore
    • 50 Stephanie Zacharek
    Fine actors do their damnedest to make this dumb movie look sharp.
    • 67 Metascore
    • 50 Stephanie Zacharek
    Forgetting Sarah Marshall follows the Apatow formula faithfully enough. All that's missing is charisma -- the je ne sais quois that makes us fall in love in the first place.
    • 61 Metascore
    • 50 Stephanie Zacharek
    The Incredible Hulk suggests only that we've bottomed out on special effects: They're not necessarily getting better -- they're just getting bigger. Technically, Leterrier's Hulk is as realistic-looking as a rampaging green giant could be. But that doesn't make him credible.
    • 82 Metascore
    • 50 Stephanie Zacharek
    Nolan may want us to believe in the darkness that lurks within each of us, but instead of leading us to it visually, he chops it up and sets it out in front of us, a grim, predigested banquet.
    • 53 Metascore
    • 50 Stephanie Zacharek
    I left Australia feeling drained and weakened, as if I'd suffered a gradual poisoning at the hands of a mad scientist.
    • 47 Metascore
    • 50 Stephanie Zacharek
    A maddeningly indistinct picture.
    • 35 Metascore
    • 50 Stephanie Zacharek
    Gets more cluttered and confused as it moves along.
    • 67 Metascore
    • 50 Stephanie Zacharek
    Bolt is just too knowing; it keeps reminding us, loud and clear, of how culturally savvy it is.
    • 37 Metascore
    • 50 Stephanie Zacharek
    A picture that's dramatically compelling in some places and plodding and didactic in others.
    • 64 Metascore
    • 50 Stephanie Zacharek
    If Appaloosa is something to look at, it's also unnecessarily lethargic. Even an intentionally slow-paced picture needs to have its own internal source of energy, and as a filmmaker, Harris can't quite get that motor running.
    • 60 Metascore
    • 50 Stephanie Zacharek
    Isn't as uproarious as it pretends to be. The foul language, the constant repetition of words like the aforementioned "boobies" -- look, they've even got me doing it -- doesn't feel daring or cathartic, only canned.
    • 67 Metascore
    • 50 Stephanie Zacharek
    Strives to be a work of greatness. But Kaufman's overarching vision is a lot less interesting than the small insights he gathers along the way. This is what happens when life imitates art, and blows it.
    • 38 Metascore
    • 50 Stephanie Zacharek
    A disappointing picture that suffers from all manner of ills: Both the direction and the dialogue are stiff and awkward, and Kramer -- who also wrote the script -- crams too many not-believable-enough subplots into the movie's "Crash"-style construction. Yet Crossing Over is an interesting failure.
    • 58 Metascore
    • 50 Stephanie Zacharek
    The Reader feels weighty, all right; but it's an unsatisfying kind of weight, and Fiennes' presence, as the grown-up Michael, doesn't help much.
    • 69 Metascore
    • 50 Stephanie Zacharek
    This is a movie about two people in pain; the last thing they need is for Mendes to turn his cool camera on them. But that's all Mendes knows how to do. He's a clinical director, and whatever feeling he puts into a movie is measured out in careful quarter-teaspoon increments.
    • 56 Metascore
    • 50 Stephanie Zacharek
    Neither a masterpiece nor an embarrassment, but a workmanlike picture that sits, inoffensively, in the middling space between.
    • 50 Metascore
    • 50 Stephanie Zacharek
    It's great that Perry has seized opportunity for himself and for the performers he employs. But has he succeeded only in creating a kind of ghetto for black-themed entertainment that's of sub-par quality -- one that, admittedly, makes him a lot of money?
    • 69 Metascore
    • 50 Stephanie Zacharek
    The structure of Duplicity is its own worst enemy.
    • 49 Metascore
    • 50 Stephanie Zacharek
    2012 is totally, certifiably nuts, without being quite as off-the-wall kitschy as Emmerich's last special-effects extravabanzoo, "10,000 BC."
    • 88 Metascore
    • 50 Stephanie Zacharek
    Up
    Save for a few inspired canine gags and a handful of very pretty visual details, Up left me cold. Its charms appear to have been applied with surgical precision; by the end, I felt expertly sutured, but not much else.
    • 61 Metascore
    • 50 Stephanie Zacharek
    How you'll feel about Sunshine Cleaning probably depends on your tolerance for slender, semi-hip comedic dramas about oddball families grappling with sometimes overwhelming problems.
    • 56 Metascore
    • 50 Stephanie Zacharek
    Even in 3D, as the picture is being shown in some theaters -- Ginormica is a disappointingly flat character.
    • 50 Metascore
    • 50 Stephanie Zacharek
    There's enough sweetness, and enough just-under-the-surface intelligence, in The Education of Charlie Banks to suggest that Durst may have a future as a filmmaker.
    • 47 Metascore
    • 50 Stephanie Zacharek
    The movie overall is painless if not exactly electrifying.
    • 48 Metascore
    • 50 Stephanie Zacharek
    It's often breezily entertaining.
    • 50 Metascore
    • 50 Stephanie Zacharek
    Management is ultimately undone by its own bland idiosyncrasies. It's nothing but a mismanaged opportunity.
    • 55 Metascore
    • 50 Stephanie Zacharek
    So gentle it barely has enough vitality to stick to the screen.
    • 63 Metascore
    • 50 Stephanie Zacharek
    Chéri is a perfect example of a movie that gets many of the details right and the vibe all wrong.
    • 54 Metascore
    • 50 Stephanie Zacharek
    Parts of it are brilliant; some of it feels tired and overplayed. Cohen has come up with some marvelous satirical motifs; elsewhere, he's just showing how far he'll go to get a laugh.
    • 57 Metascore
    • 50 Stephanie Zacharek
    Hawke gives his all here -- or maybe just half his all -- and it isn't quite enough: He's trying to be soulful, but he really just looks a little tired. The real delight is Willem Dafoe, as the rednecky leader of the survivor humans.
    • 47 Metascore
    • 50 Stephanie Zacharek
    Kelly is devoted to telling his stories visually -- except when he's not. And the second half of The Box, unfortunately, underscores everything Kelly, as a filmmaker, wants to be and just can't.
    • 86 Metascore
    • 50 Stephanie Zacharek
    His (Miyazaki) stories, and often his character design, just leave me cold. I know I'm supposed to be magically transported by his fanciful tales and his whimsical grandiosity, but they make me listless.
    • 47 Metascore
    • 50 Stephanie Zacharek
    Although it's supposed to be supremely romantic, there's no daring in it, no go-for-broke passion. It's a nice little movie about romantic compulsion, just big enough to fit in a teacup.
    • 83 Metascore
    • 50 Stephanie Zacharek
    It is a very expensive-looking, very flashy entertainment, albeit one that groans under the weight of clumsy storytelling in the second half and features some of the most godawful dialogue this side of "Attack of the Clones."
    • 53 Metascore
    • 50 Stephanie Zacharek
    In the end, Alice in Wonderland comes off as manufactured instead of dreamy. Burton delivers all the wonder money can buy; what's missing is the wonder it can't.
    • 34 Metascore
    • 50 Stephanie Zacharek
    The finest effect in this visceral gouge of a picture is Korean pop star Rain.
    • 68 Metascore
    • 50 Stephanie Zacharek
    Has such a sweet spirit that it's easy enough to let its flaws sail by.
    • 83 Metascore
    • 50 Stephanie Zacharek
    Comes off not as topical but as opportunist. The picture is brushed with a fine glaze of slickness, a product sealed in a blister pack. It's like airplane air -- it has a packaged freshness that isn't really fresh at all.
    • 27 Metascore
    • 50 Stephanie Zacharek
    There's nothing wrong with Chan's making a silly comedy for kids. But he's got more in him than grinning, nodding and falling down a lot. All he needs is a filmmaker who's ready to let him to make that leap.
    • 51 Metascore
    • 50 Stephanie Zacharek
    Some questions just can't be answered by science, and the quandary of why Creation is so poundingly dull is one of them.
    • 45 Metascore
    • 50 Stephanie Zacharek
    Isn't emotionally manipulative but simply dull.
    • 25 Metascore
    • 50 Stephanie Zacharek
    When in Rome may fall flat in places, but at least it hasn't had all the personality manicured out of it.
    • 31 Metascore
    • 50 Stephanie Zacharek
    Morgan transcends the wayward silliness of Cop Out just by going for the gusto. He grabs it, and he hangs on.
    • 69 Metascore
    • 50 Stephanie Zacharek
    These interlocking stories don't move along as swiftly or as urgently as they should, and much of the dialogue thumps along on square wheels.
    • 48 Metascore
    • 50 Stephanie Zacharek
    Emperor may not be the most dazzling of history lessons, but it never treats the past as a dusty, deserted place.
    • 35 Metascore
    • 42 Stephanie Zacharek
    Watching Identity Thief will steal nearly two hours of your life that you’ll never get back. It takes far more than it gives.
    • 40 Metascore
    • 42 Stephanie Zacharek
    The violence is so indifferently presented that it has no kick; it’s not grim or graphic enough to shock, but it doesn’t rev us up, either. The picture’s various shoot-’em-up sequences are so generically conceived and shot that each one is indistinguishable from the next – by the movie’s end, they may as well all collapse into an exhausted heap.
    • 39 Metascore
    • 42 Stephanie Zacharek
    Dead Man Down is actually mildly entertaining, without being particularly fun.
    • 54 Metascore
    • 40 Stephanie Zacharek
    Neither Dahl nor most of his actors ever quite convince us that there's a good reason to sit in front of a movie screen watching them for more than two hours.
    • 45 Metascore
    • 40 Stephanie Zacharek
    Aside from a few well-shaped moments from some of the actors, the editing is about the only thing that keeps your mind occupied in Full Frontal -- and any good editor will tell you that's a problem.
    • 35 Metascore
    • 40 Stephanie Zacharek
    Ultimately feels somewhat overprocessed, and its humor is a little too broad at times -- it probably crosses the acceptable threshold of penis and boob jokes.
    • 27 Metascore
    • 40 Stephanie Zacharek
    The movie is a lumbering load of hokum, but unlike those other recent pop star white elephants -- it's at least watchable.
    • 69 Metascore
    • 40 Stephanie Zacharek
    Sodden and glum, even in those moments where it's supposed to feel funny and light. It makes you feel trapped and flailing as the minutes tick by. If it encapsulates anything, it's the experience of drowning, not waving.
    • 44 Metascore
    • 40 Stephanie Zacharek
    The problem with Kate & Leopold is that although this is supposed to be a romantic comedy, the best scenes are the ones in which there's no Ryan.
    • 49 Metascore
    • 40 Stephanie Zacharek
    Sure, sex and drugs can take you to a higher plane. But not if a movie crushes your will to live first.
    • 61 Metascore
    • 40 Stephanie Zacharek
    Lars von Trier is a mechanic, not an artist. And his movies are meat grinders he feeds his characters through.
    • 59 Metascore
    • 40 Stephanie Zacharek
    Its spectacular special effects threaten to swallow characters whole, and there are times when overwrought and clumsy dialogue... nearly pitch you right out of the movie's mood.
    • 31 Metascore
    • 40 Stephanie Zacharek
    Dimly entertaining, the sort of thing that doesn't insult you so much that you feel compelled to flee the theater, but it's too inert to be anything close to charming or compelling.
    • 58 Metascore
    • 40 Stephanie Zacharek
    Too conventional to capture Kaufman's insanity and too haphazard, too shapeless, to recapture Kaufman's energy in any meaningful way.
    • 32 Metascore
    • 40 Stephanie Zacharek
    Feels like every other action thriller we've seen in the past three years, only it's more annoying -- and, in some cases, more appalling -- because it's trying so hard to distinguish itself.
    • 54 Metascore
    • 40 Stephanie Zacharek
    Gerry moves slowly and deliberately, like a torture technique, leaving us feeling as dry and dusty and lost as its two characters.
    • 45 Metascore
    • 40 Stephanie Zacharek
    Everything about it, except the valiantly lifelike Lopez, feels stiff and robotic and mindlessly crowd-pleasing, as if it were a comedy made by a committee instead of a human being.
    • 48 Metascore
    • 40 Stephanie Zacharek
    There's a fine line dividing Hollywood tradition and overly manipulative junk, and Tears of the Sun crosses it.
    • 33 Metascore
    • 40 Stephanie Zacharek
    A movie that wants to be "Speed" so badly that it runs roughshod over the essentials, including a decent script.
    • 45 Metascore
    • 40 Stephanie Zacharek
    Forget about cancer -- it's weepy movies like this that are the real scourge.
    • 53 Metascore
    • 40 Stephanie Zacharek
    The picture has a lax, sleepy vibe: There's never anything taut or electric about it. And so, like Pacino's character, we sleepwalk through it.
    • 52 Metascore
    • 40 Stephanie Zacharek
    Anger Management is so almost-but-not-quite funny that it feels like one colossal gyp.
    • 32 Metascore
    • 40 Stephanie Zacharek
    Dull and listless from the start, partly because the leads fail to connect and partly because both the script and the direction let them down.
    • 49 Metascore
    • 40 Stephanie Zacharek
    An offshoot of a popular computer game, is really all about inducing visual awe. And for the first few minutes, it does.
    • 43 Metascore
    • 40 Stephanie Zacharek
    Boyle's Beach lacks imagination and energy, two things that might have distracted us, at least occasionally, from the material's tepidness.
    • 64 Metascore
    • 40 Stephanie Zacharek
    iIt sits on the screen in the flattest way imaginable, and the brightest colors in the world can't make up for all that's missing. 8 Women is perfumed kitsch, and it reeks.
    • 32 Metascore
    • 40 Stephanie Zacharek
    Too bad it's not so funny. Almost every gag in Black Knight feels forced and contrived, as if the movie is desperate to squeeze laughs out of us.
    • 27 Metascore
    • 40 Stephanie Zacharek
    Does neither of its leads any favors. But they fill their roles admirably, and then some. Time and again, in a movie that repeatedly threatens mawkishness, you can sense them gently steering away just in the nick of time.
    • 28 Metascore
    • 40 Stephanie Zacharek
    The groom is a doofus, the bride has genuine screwball talent -- It's too bad that the movie is so disappointing.
    • 31 Metascore
    • 40 Stephanie Zacharek
    Becomes more and more preposterous with each scene -- it's almost like performance art.
    • 52 Metascore
    • 40 Stephanie Zacharek
    The movie has some sex in it, and yet it's as unsexy as a rusty old olive oil can (minus the olive oil).
    • 46 Metascore
    • 40 Stephanie Zacharek
    Isn't just a movie about decapitation; it's a decapitated movie. It has no idea where its head is at.
    • 32 Metascore
    • 40 Stephanie Zacharek
    Has a TV Movie of the Week righteousness about it -- you can feel the way the filmmakers and the director are struggling to educate us, even as they must surely know, deep in their hearts, that the florid, doomed romance is the real focus of the movie.
    • 38 Metascore
    • 40 Stephanie Zacharek
    More of a women's-prison movie than a supernatural thriller, and not a very good one at that.
    • 70 Metascore
    • 40 Stephanie Zacharek
    Which would all be well and good, if only Arcand's approach weren't so deliberate and stupefyingly superior.
    • 65 Metascore
    • 40 Stephanie Zacharek
    The Horse Whisperer is just the latest example of tab-A-into-slot-B moviemaking to come out of Hollywood, a weeper that's built according to a solid set of rules.
    • 78 Metascore
    • 40 Stephanie Zacharek
    The visual originality of The Saddest Music is deceiving: Narratively and spiritually, the movie is bankrupt, even though it's so packed with stuff (including a set of shapely prosthetic glass legs filled with dazzling, fizzy beer) that you can hardly bring yourself to believe that it all adds up to nothing.
    • 35 Metascore
    • 40 Stephanie Zacharek
    Van Helsing wears its price tag on its ruffled lamé sleeve. And yet it gives off an aura of what I can only call lavish cheapness.
    • 56 Metascore
    • 40 Stephanie Zacharek
    Troy isn't so much a simplified retelling of "The Iliad" as a re-imagined version of it, told wholly without imagination.
    • 47 Metascore
    • 40 Stephanie Zacharek
    Despite the fact that The Day After Tomorrow is harnessed to the very real threat of global warming, it's still just a big, dumb movie, another Hollywood entertainment that, instead of tweaking and teasing our brains for fun, leaves us feeling thick and stupid.
    • 42 Metascore
    • 40 Stephanie Zacharek
    The picture is mildly entertaining and stringently unoffensive (provided you're not a supersensitive upper-crusty type from Connecticut). Yet it has problems from the start.
    • 46 Metascore
    • 40 Stephanie Zacharek
    It's hard to care about a valiant groping for accuracy when a story is so badly told you can't tell what the devil is going on.
    • 27 Metascore
    • 40 Stephanie Zacharek
    The frustrating thing about Catwoman is that Berry does her damnedest to make the character work. Some of her physical moves are astonishing: Her offhanded grace is exceedingly catlike.
    • 66 Metascore
    • 40 Stephanie Zacharek
    May be very much about feelings, but it's made with a drab, juiceless, tasteful efficiency that distances us from the characters instead of drawing us closer to them.
    • 61 Metascore
    • 40 Stephanie Zacharek
    Bale gives a remarkable performance in a movie I can recommend to no one, because the sight of him is more distressing than any of the allegedly deep themes of the picture.
    • 39 Metascore
    • 40 Stephanie Zacharek
    Never have a great historical hero's accomplishments seemed so inconsequential, or so damned hard to figure out.
    • 46 Metascore
    • 40 Stephanie Zacharek
    You can't BECOME a character if you want to BE that character: Desperation isn't the same thing as acting. Spacey's mimicry is so precise, it's exhausting.
    • 54 Metascore
    • 40 Stephanie Zacharek
    Works neither as an exuberant rock 'n' roll picture nor as a heroic fable. It will rock you --straight to sleep.
    • 27 Metascore
    • 40 Stephanie Zacharek
    I can't recall ever having seen a single bad Ice Cube performance, and his utter charm even in flimsy material like this only reaffirms his gifts.
    • 32 Metascore
    • 40 Stephanie Zacharek
    Dermot Mulroney is the movie's only genuinely romantic lead. And he's so good that he nearly carries The Wedding Date single-handedly.
    • 37 Metascore
    • 40 Stephanie Zacharek
    Isn't assaultive or dumb, just slack and de-energized, as if its batteries start running down in the first frame.
    • 54 Metascore
    • 40 Stephanie Zacharek
    Even these actors -- who, in other pictures, are often wonderful in distinctive ways -- don't seem like themselves: It's as if they've been pulverized and pressed into convenient actor shapes.
    • 41 Metascore
    • 40 Stephanie Zacharek
    Paris Hilton is the big draw in Jaume Collet-Serra's not-really-a-remake horror-slasher thriller House of Wax, and she'd have to be: There's so little else going on in it that you find yourself waiting for her few brief scenes.
    • 63 Metascore
    • 40 Stephanie Zacharek
    This is muddled and oppressive storytelling (the script is by William Monahan) dotted with elaborate but weightless battle sequences.
    • 31 Metascore
    • 40 Stephanie Zacharek
    Fonda and Sykes are made for each other, and their incessant bickering and arguing are about the only things that give Monster-in-Law any life.
    • 68 Metascore
    • 40 Stephanie Zacharek
    I suspect this picture is pretty close to what fans were hoping for, and for their sake, I'm glad it's markedly better than the two that preceded it. But Revenge of the Sith is still crap.
    • 70 Metascore
    • 40 Stephanie Zacharek
    Needs much more energy and kinetic flow -- less dolor and more dolomite.
    • 52 Metascore
    • 40 Stephanie Zacharek
    Spins toward its glum, dishwater-gray whirlpool of an ending, which doesn't have nearly as much emotional punch as it should. It doesn't leave you feeling spent -- only soaked.
    • 57 Metascore
    • 40 Stephanie Zacharek
    The kind of self-conscious puzzle picture in which characters behave in ways that serve the plot but in no way resemble things that actual human beings would be likely to do.
    • 33 Metascore
    • 40 Stephanie Zacharek
    The whole thing seems so perfectly good-natured that you settle in for some harmless, silly fun. But Dukes runs out of gas early on.
    • 53 Metascore
    • 40 Stephanie Zacharek
    An exercise in edgy tedium, and even though it's only 90 minutes or so, it seems to last longer than an actual transatlantic flight. If you bring an eye mask and a few sleeping pills, you should get through it OK. A magazine or book wouldn't hurt, either. It'll be over before you know it.
    • 45 Metascore
    • 40 Stephanie Zacharek
    Elizabethtown is a sprawl, perhaps the victim of a kind of ADD of the heart.
    • 52 Metascore
    • 40 Stephanie Zacharek
    Watching The Producers is simply exhausting.
    • 36 Metascore
    • 40 Stephanie Zacharek
    The plot is so convoluted that missing even five minutes at a stretch won't make any difference in your comprehension of the story.
    • 62 Metascore
    • 40 Stephanie Zacharek
    Both oversimplifies and overcomplicates Moore's and Lloyd's vision, but it never cuts to the bone. It's a movie drawn with big, bold strokes and very little feeling -- a tracing-paper exercise masquerading as a masterpiece.
    • 41 Metascore
    • 40 Stephanie Zacharek
    What we really need from Stoned, the very thing that it fails to give us, is a sense of Jones as a human being.
    • 26 Metascore
    • 40 Stephanie Zacharek
    If you're trying to reinvigorate the art of the stylish thriller, the movie you come up with needs to be stylish and it needs to be thrilling. Basic Instinct 2, is neither.
    • 45 Metascore
    • 40 Stephanie Zacharek
    The Break-Up doesn't know whether it wants to be a facile, enjoyable date movie or an unnerving examination of the dark, pockmarked underbelly of everything we expect out of romantic relationships, and it settles for a deeply unsatisfying nowheresville.
    • 46 Metascore
    • 40 Stephanie Zacharek
    The problem with contemporary Hollywood isn't that so many of the movies it's churning out are based on formula; it's that so many directors take perfectly good formulas and wreck them with bad filmmaking.
    • 76 Metascore
    • 40 Stephanie Zacharek
    There's so little love to be found in Dreamgirls. It's a product that promises magic, and yet gives us nothing to live on.
    • 53 Metascore
    • 40 Stephanie Zacharek
    There are so many emotions in We Are Marshall that there's hardly any room for football -- and when we finally get some, even THAT'S clogged with excess feeling.
    • 53 Metascore
    • 40 Stephanie Zacharek
    In this mess of a picture, Timberlake may be the rookie actor, but he's also the one to watch, the movie's North Star. The rest may as well be pinholes in a box.
    • 27 Metascore
    • 40 Stephanie Zacharek
    There are so many problems with Norbit that when you try to pin one down, another one splooges out elsewhere.
    • 51 Metascore
    • 40 Stephanie Zacharek
    300
    The bigger question to ask about 300 is why, for a supposedly rousing tale of heroism, it's so curiously unaffecting.
    • 29 Metascore
    • 40 Stephanie Zacharek
    Premonition doesn't know when to stop. The picture can't decide between cheap scares or deep thoughts, so it goes for both.
    • 54 Metascore
    • 40 Stephanie Zacharek
    Feels deeply calculated rather than genuinely crazy.
    • 42 Metascore
    • 40 Stephanie Zacharek
    Next is clearly an attempt at a puzzle movie, one of those brainteaser pictures that lures viewers into another dimension, but it doesn't have the momentum, the quick-wittedness, to keep us wondering what's going to happen next.
    • 54 Metascore
    • 40 Stephanie Zacharek
    The picture is so drab and listless that it often feels like punishment, even though Rickman gives a fine performance, one that's heartfelt as well as characteristically elegant (not to mention sexy).
    • 25 Metascore
    • 40 Stephanie Zacharek
    [Georgia Rule] is clearly intended to be an uplifting multigenerational drama about abuse, healing and forgiveness. Yet there's something unsavory about the way it uses a character's emotional and psychological scars as a gimmick.
    • 50 Metascore
    • 40 Stephanie Zacharek
    This is a glazed, inhuman, cluttered piece of work, a storytelling mishmash that buries the considerable charms of its actors under heavy drifts of silt.
    • 50 Metascore
    • 40 Stephanie Zacharek
    Sometimes movies make sense in a logical way; sometimes they make only emotional sense. No Reservations makes no damned sense at all.
    • 55 Metascore
    • 40 Stephanie Zacharek
    Becoming Jane would have been more honest if it had been called "No Sex in the Country."
    • 46 Metascore
    • 40 Stephanie Zacharek
    Before long, El Cantante disintegrates into a stylized jumble -- even a straightforward jumble would have been preferable.
    • 38 Metascore
    • 40 Stephanie Zacharek
    Intended as nothing more than a here-today, gone-tomorrow zany entertainment, and at the very least, it has a good-natured, slightly raunchy spirit about it. But ultimately, it's a hollow enterprise, all ping and no pong. It doesn't bounce; it splats.
    • 65 Metascore
    • 40 Stephanie Zacharek
    The movie chickens out. In the Valley of Elah could have been really interesting -- and really daring -- if it had focused on Hank's realization that his own child, supposedly a good kid, had perhaps committed the kinds of atrocities that would make any decent human being recoil. The movie (which Haggis also wrote) dances around that territory, but doesn't dare to march straight into its terrifying maw.
    • 45 Metascore
    • 40 Stephanie Zacharek
    Might have been a lavish, silly entertainment. In places it comes close, but no sheaf of tobacco.
    • 59 Metascore
    • 40 Stephanie Zacharek
    Ambitious, overbearing and hollow; it goes overboard to impress, yet it never feels truly inventive or imaginative. At best, it achieves a level of clumsy camp.
    • 51 Metascore
    • 40 Stephanie Zacharek
    Whatever complex or interesting ideas might have been found in the source material have been watered down, skimmed over, mashed into nonsense or simply ignored.
    • 41 Metascore
    • 40 Stephanie Zacharek
    The picture has no legs, no style, no sense of movement other than the meandering, dawdling kind.
    • 41 Metascore
    • 40 Stephanie Zacharek
    First Sunday is simply a case of wasting gifted performers on material that feels slapped together and unshaped.
    • 46 Metascore
    • 40 Stephanie Zacharek
    The movie is neither cathartic nor entertaining. The action scenes (and there are many of them) feel mechanized and calculated.
    • 48 Metascore
    • 40 Stephanie Zacharek
    Too heavy on applied charm and too flimsy when it comes to plot. The picture has a hapless, meandering quality that's tolerable at first but ultimately becomes maddening, as if it were a cartoon narrative recounted by a distracted 4-year-old.
    • 40 Metascore
    • 40 Stephanie Zacharek
    There's loads of suffering in Sleepwalking, piled on until the picture almost becomes an unintentional comedy.
    • 61 Metascore
    • 40 Stephanie Zacharek
    A filmmaker's personal connection to the material doesn't necessarily mean that the resulting picture will be any good, and Stop-Loss is so dramatically tedious that it feels remote instead of resonant.
    • 17 Metascore
    • 40 Stephanie Zacharek
    The picture is humorless and witless. The barrage of allegedly important details is supposed to keep us intrigued, but it barely keeps us occupied.
    • 31 Metascore
    • 40 Stephanie Zacharek
    To his credit, Langenegger keeps things relatively simple instead of resorting to lots of fast cutting and fancy camera angles. To his detriment, the picture he has made barely moves at all. This no-style style isn't restraint; it's a kind of indifference to filmmaking.
    • 37 Metascore
    • 40 Stephanie Zacharek
    There's no energy, no spark, in Made of Honor. Even its clichés -- including a dashing rescue on horseback -- are trotted out with bland indifference.
    • 53 Metascore
    • 40 Stephanie Zacharek
    Parker IS to blame for the self-consciousness of her performance. She spends much of the movie swanning, not acting: Nearly every movement, every gesture, seems conceived for the benefit of the camera, as opposed to the truth of the character.
    • 64 Metascore
    • 40 Stephanie Zacharek
    The picture is resolutely unhip and proud of it, which can be a good thing in the right hands or, in the wrong ones, just a gimmick. Nearly everything about Pineapple Express is a gimmick.
    • 54 Metascore
    • 40 Stephanie Zacharek
    So wearying that it makes you feel duped for being open to it in the first place. Hamlet 2 works so hard at being entertaining, in that quirky, Indie 101 sense, that it just grinds you down.
    • 30 Metascore
    • 40 Stephanie Zacharek
    Miller seems to have brought neither his brains nor his heart (both of which we know he's got) to this project. The style is willing. But the spirit is weak.
    • 57 Metascore
    • 40 Stephanie Zacharek
    Excessively intricate and extremely dull, the latest example of a filmmaker giving us a disjointed, overlong movie that’s unnecessarily confusing to follow.
    • 39 Metascore
    • 40 Stephanie Zacharek
    The movie around Lane and Gere is unreal, a tortured construct, but they open a breathing space in its center.
    • 53 Metascore
    • 40 Stephanie Zacharek
    Thinking back on watching these performers, I see them mostly as an arrangement of bewildered actors awaiting orders, as if Ritchie hasn't bothered to tell them what he needs them to do. He’d sure make a lousy Mob boss.
    • 45 Metascore
    • 40 Stephanie Zacharek
    An extended metaphor for the condition of man, and boy is it extended. In the course of two hours that crawl by like four and a half.
    • 63 Metascore
    • 40 Stephanie Zacharek
    A glum, listless affair that springs to life now and then, only to sag back into its saggy, depressive cushion.
    • 56 Metascore
    • 40 Stephanie Zacharek
    The jokes are forced, almost mechanical, in their crudeness.
    • 49 Metascore
    • 40 Stephanie Zacharek
    Couldn't be more unhip -- it just never hits the groove.
    • 68 Metascore
    • 40 Stephanie Zacharek
    Shanley offers no resolution to this Sharks vs. Jets conflict. For that, we have to wait for "Doubt! The Musical."
    • 43 Metascore
    • 40 Stephanie Zacharek
    As is generally the case with Hollywood movies that use Asian horror films as their inspiration, the Guard brothers seem to have glanced at the original, borrowed a few images and then made the movie according to some preconceived template of what makes audiences jump -- instead of burrowing into the stuff that haunts our dreams.
    • 25 Metascore
    • 40 Stephanie Zacharek
    Takes far too long to get cooking, and it works so hard at NOT being exploitation that it loses sight of its reasons for existing in the first place.
    • 48 Metascore
    • 40 Stephanie Zacharek
    Might have been classy, entertaining junk -- if only it were entertaining.
    • 32 Metascore
    • 40 Stephanie Zacharek
    Moves along, taking two steps backward into crassness for every clever or just plain sweet moment it offers. Although many of the movie's problems seem to be rooted in the script, Columbus has such a heavy touch that he sabotages nearly every scene.
    • 60 Metascore
    • 40 Stephanie Zacharek
    Funny People is an ambitious, misshapen picture that feels like two, maybe even three, separate movies uncomfortably jammed into one.
    • 58 Metascore
    • 40 Stephanie Zacharek
    An exploration of self-absorption that is itself too self-absorbed to be either entertaining or enlightening.
    • 71 Metascore
    • 40 Stephanie Zacharek
    Jonze's ideas, visual and otherwise, spill out in a faux-philosophical ramble that isn't nearly as deep as he thinks it is; at best, it's a scrambled tone poem. Even the look of the picture becomes tiresome after a while -- it starts to seem depressive and shaggy and tired.
    • 32 Metascore
    • 40 Stephanie Zacharek
    Land of the Lost isn't a terrible movie. It's merely a perplexing one: Who is this thing for?
    • 35 Metascore
    • 40 Stephanie Zacharek
    Revenge of the Fallen just comes off as a bratty kid showing how many swear words he knows.
    • 48 Metascore
    • 40 Stephanie Zacharek
    A romantic comedy doesn't need to be original to be enjoyable, and yet The Proposal still falls way too short of the mark.
    • 45 Metascore
    • 40 Stephanie Zacharek
    A belabored trifle that's occasionally amusing but often just bewildering.
    • 37 Metascore
    • 40 Stephanie Zacharek
    Amelia is a stunted epic, an ambitious and handsome-looking picture that tells its story in the dullest, most confusing way possible.
    • 43 Metascore
    • 40 Stephanie Zacharek
    Disjointed and disorganized, and it meanders when it needs to gallop.
    • 43 Metascore
    • 40 Stephanie Zacharek
    The Wolfman isn't crazy enough to be fun or multilayered enough to be touching. It's impossible to have any real feeling for this anguished beastie.
    • 43 Metascore
    • 40 Stephanie Zacharek
    Forget the heat of passion: The movie never breaks a sweat.
    • 48 Metascore
    • 30 Stephanie Zacharek
    Perfectly inoffensive and harmless, but it's also drab and inert.
    • 66 Metascore
    • 30 Stephanie Zacharek
    It's an English movie doing its best to masquerade as the shallowest kind of Hollywood romantic comedy, as if somewhere along the way someone had made a calculated supposition that would be the only kind of comedy American audiences would buy.
    • 37 Metascore
    • 30 Stephanie Zacharek
    Fragmented and contrived, like a badly mapped-out scrapbook.
    • 44 Metascore
    • 30 Stephanie Zacharek
    It hovers somewhere in that never-never land of movies that try to do too much and don't quite live up to any of their ambitions.
    • 41 Metascore
    • 30 Stephanie Zacharek
    Just a string of cute gags and pouting on Isabella's part that's supposed to signify soul-searching.
    • 33 Metascore
    • 30 Stephanie Zacharek
    A dismally unfunny comedy, but that's not what's depressing about it. Worse by far is the palpable desperation in Goldie Hawn's performance.
    • 44 Metascore
    • 30 Stephanie Zacharek
    The air leaks out of Gaudí Afternoon gradually but steadily, until all we're left with is a limp rag of a balloon.
    • 43 Metascore
    • 30 Stephanie Zacharek
    Deadly dull.
    • 43 Metascore
    • 30 Stephanie Zacharek
    Every scene is coated with Marshall's thumbprints, ultimately connecting into a manhandled, mangled, misshapen whole, its themes written out in thunderously obvious cues.
    • 39 Metascore
    • 30 Stephanie Zacharek
    Even with the outlandish characters, gaudy colors and gay satire, this smug John Waters knockoff can't stand up to the real thing.
    • 49 Metascore
    • 30 Stephanie Zacharek
    Leaving the theater, I couldn't quell those waves of disappointment: It just should have been funnier.
    • 38 Metascore
    • 30 Stephanie Zacharek
    Life in the Bronx is hard, all right. Getting through a movie shouldn't be harder.
    • 38 Metascore
    • 30 Stephanie Zacharek
    All noise with very little fun, and almost no restraint.
    • 27 Metascore
    • 30 Stephanie Zacharek
    Stumbles along laboriously, its jokes following one after another in a sloppy, flat-footed walk.
    • 46 Metascore
    • 30 Stephanie Zacharek
    No director in the history of moviemaking has expended so much effort in the service of drying up and blowing off the landscape.
    • 35 Metascore
    • 30 Stephanie Zacharek
    A vehicle for teen singing sensation Mandy Moore. As vehicles go, it's an Edsel.
    • 31 Metascore
    • 30 Stephanie Zacharek
    Poops out before it ever really gets going.
    • 36 Metascore
    • 30 Stephanie Zacharek
    Just slides off the screen and disappears.
    • 25 Metascore
    • 30 Stephanie Zacharek
    Dragonfly wants desperately to be the spiritual heir to "The Sixth Sense," but it's not even as effective a thriller.
    • 43 Metascore
    • 30 Stephanie Zacharek
    Anything Else isn't just the latest Woody Allen movie; it's also the smallest. His pictures seem to be getting tinier and tinier, and after you've seen them they leave nothing but a tinny echo and a bad taste. Anything Else is misanthropy writ small. Allen is too stingy to be generous even with his contempt.
    • 43 Metascore
    • 30 Stephanie Zacharek
    It's not much fun, and it's not particularly edifying. Even people who are curious about Holmes (he was better known by his screen name, Johnny Wadd; here, he's played by Val Kilmer) won't find out much about him.
    • 55 Metascore
    • 30 Stephanie Zacharek
    Cruise pedals hard through The Last Samurai, and the exertion shows. In fact, the whole picture is belabored and lumbering.
    • 41 Metascore
    • 30 Stephanie Zacharek
    For a movie that's supposed to be about speed and movement, Torque is a peculiarly slow kind of torture. Nobody expects the Spanish Inquisition -- especially not in an action movie.
    • 33 Metascore
    • 30 Stephanie Zacharek
    If it were terrible, you could at least sink your teeth into it; but Welcome to Mooseport is like a biscuit soaked in water, ready to be gummed instead of chewed.
    • 29 Metascore
    • 30 Stephanie Zacharek
    The direction on Johnson Family Vacation is numbingly slack; the synapses between the scenes don't spark effortlessly, as they should, and the whole enterprise feels dragged-down and belabored.
    • 33 Metascore
    • 30 Stephanie Zacharek
    If you can get past the goofy writing, there's lots of noisy action in The Punisher, but little of it is particularly exhilarating. In fact, it's more of an endurance test. If you can sit through it, you should consider yourself duly punished.
    • 63 Metascore
    • 30 Stephanie Zacharek
    Unless you're a lover of tigers, there's probably no reason to see Jean-Jacques Annaud's Two Brothers. And maybe not even then.
    • 67 Metascore
    • 30 Stephanie Zacharek
    Moore's supporters are quick to impugn the liberal credentials of anyone who criticizes his presentation of the information he digs up (or, in some cases, makes up). For them, Michael Moore is the issues he talks about, so his detractors must be enemies of democratic principles. It's an old trick, akin to the way Pauline Kael was accused of being insensitive about the Holocaust when she didn't like "Shoah."
    • 64 Metascore
    • 30 Stephanie Zacharek
    It's a shame when an actor like Sylvester Stallone, who's always at his most appealing when he just hunkers down and lets himself be a big galoot, feels he has to make a bid for respectability.