Stephen Holden
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For 2,007 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 1.7 points lower than other critics. (0-100 point scale)

Stephen Holden's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 About Elly
Lowest review score: 0 Hearts in Atlantis
Score distribution:
2,007 movie reviews
    • 33 Metascore
    • 40 Stephen Holden
    As it lurches between mush and farce, Very Annie Mary churns up a few genuinely funny bits.
    • 33 Metascore
    • 30 Stephen Holden
    The movie has a frantic staccato style that is more game-oriented than cinematic.
    • 33 Metascore
    • 40 Stephen Holden
    The fatal flaw of this well-acted movie, whose creators are sex industry veterans, is its refusal to examine Angelina's occupation from outside the bubble. You might even call it a recruitment film.
    • 33 Metascore
    • 30 Stephen Holden
    Turns into an impenetrable essay on guilt, memory and the fear of death that even Mr. Langella's gravity cannot salvage.
    • 33 Metascore
    • 30 Stephen Holden
    Advance word of mouth has suggested that Ms. Basinger...turns in a performance comparable to Meryl Streep's in "Out of Africa." Would that it were so. Ms. Basinger certainly works hard at her role.
    • 33 Metascore
    • 20 Stephen Holden
    54
    Years from now, if Mark Christopher's timid, meandering film 54 is spoken of at all, it will probably be lumped together with Whit Stillman's ''Last Days of Disco'' as one of two movies released in 1998 to bungle the same opportunity.
    • 33 Metascore
    • 50 Stephen Holden
    Not everyone will be thrilled by the movie, which is one long dirty (and occasionally very funny) joke.
    • 33 Metascore
    • 50 Stephen Holden
    A wispy pubescent comedy.
    • 33 Metascore
    • 30 Stephen Holden
    An incoherent hybrid of buddy movie, "Girls Gone Wild" episode and James Bond spoof that employs cheap cinematic tricks like multiple split screens for no apparent purpose.
    • 33 Metascore
    • 40 Stephen Holden
    Although Garmento exhibits a flailing comic energy, its eagerness to condemn everything about Seventh Avenue, along with its sub-par acting and a choppy narrative style that finally runs amok, lends it a tone of hysterical finger-pointing.
    • 32 Metascore
    • 30 Stephen Holden
    The film's elegantly tricky cinematography and ominous, pounding score by Hans Zimmer (provocatively juxtaposed with the Rolling Stones), only underline the emptiness behind its technical flash.
    • 32 Metascore
    • 50 Stephen Holden
    The best jokes in this scattershot screwball satire of job insecurity, upward mobility, political correctness and yuppie marital tensions have claws that leave scratches.
    • 32 Metascore
    • 20 Stephen Holden
    Mr. Edwards, who wrote and directed Land of the Blind (it's his debut film), might counter that the movie is a Brechtian comedy that's not supposed to make literal sense: the big picture is what matters. But the big picture is a mess.
    • 32 Metascore
    • 70 Stephen Holden
    UHF
    The movie is forever digressing so that Mr. Yankovic can offer media spoofs that have only the most tangential relation to the story. [22 Jul 1989, p.1.15]
    • The New York Times
    • 32 Metascore
    • 20 Stephen Holden
    Are they fools or heroes? Because the movie can't decide, neither can we. And without an emotional payoff, Play It to the Bone ends up stranded in serio-comic limbo.
    • 32 Metascore
    • 20 Stephen Holden
    Mr. Oldman and Mr. Ford are the only actors in the film, directed by Robert Luketic (“Legally Blonde”), skillful enough to navigate the yards of jargon-packed boilerplate in Jason Hall and Barry L. Levy’s thudding screenplay.
    • 32 Metascore
    • 40 Stephen Holden
    My Name Is Hmmm ... has its magical moments, but they are sabotaged by the director’s showy, ham-handed technique applied to a frustratingly threadbare screenplay that leaves you wanting more.
    • 32 Metascore
    • 20 Stephen Holden
    This misty-eyed Southern nostalgia piece, in treading the line between sappy and sanguine, winds up mired in tear-drenched quicksand.
    • 32 Metascore
    • 40 Stephen Holden
    When the banter sputters, there is always the glorious scenery along the Trans-Canada Highway to divert you.
    • 32 Metascore
    • 20 Stephen Holden
    Turns into a meticulously choreographed bang-by-the-numbers action fantasy that I would accuse of peddling evil if the film weren't so dumb and incoherent.
    • 32 Metascore
    • 50 Stephen Holden
    Godzilla is so clumsily structured it feels as if it's two different movies stuck together with an absurd stomping finale glued onto the end.
    • 32 Metascore
    • 30 Stephen Holden
    Watching the movie is like reaching into a Christmas stocking and pulling out handfuls of cheap plastic toys that are broken.
    • tbd Metascore
    • 30 Stephen Holden
    Sergio's urban melodrama Under Hellgate Bridge suggests the contemporary equivalent of any number of 1930's B movies.
    • 32 Metascore
    • 40 Stephen Holden
    Wants to be both a realistic family drama and a mythical odyssey but lacks the substance to be much more than a vignette.
    • 32 Metascore
    • 20 Stephen Holden
    This disjointed, desperately whimsical film is simply not funny: not for a minute.
    • 32 Metascore
    • 20 Stephen Holden
    You may view Untraceable, as I do, as a repugnant example of the voyeurism it pretends to condemn.
    • 32 Metascore
    • 20 Stephen Holden
    A movie that knows its audience. Its underlying philosophy might be: why try harder when this is all they expect?
    • 32 Metascore
    • 50 Stephen Holden
    It may have been a shrewd business decision by the film’s director, Miguel Sapochnik, to treat the story as a nasty, comic thriller. But when, after a certain point, Repo Men subsumes its satire to strenuous action sequences, it loses its edge and turns into a chase movie of no special distinction.
    • 31 Metascore
    • 10 Stephen Holden
    This catastrophe of a movie zigzags drunkenly between action-adventure and surreal comedy with some magical realism slopped over it like ketchup.
    • 31 Metascore
    • 30 Stephen Holden
    A slapdash, poorly acted, paint-by-numbers teen horror comedy, the sequel is too frenetically edited to build any suspense, and its special effects are strictly bargain basement.
    • 31 Metascore
    • 30 Stephen Holden
    The director, as he showed in movies like "After Dark, My Sweet," and "Fear," specializes in conjuring conspiratorial atmospheres in which anxiety and sexual menace hang in the air like a heavy, bitter perfume. Long after you've dismissed the movie's ridiculous, convoluted story, traces of that scent may linger.
    • 31 Metascore
    • 50 Stephen Holden
    Compared to Gray Matters, even a Nora Ephron bonbon has the weight of urban neo-realism.
    • 31 Metascore
    • 30 Stephen Holden
    If you're looking for a 90-minute post-teen soap opera with pretty people, ludicrous hairpin turns and a whopper of an ending, the movie will keep you mindlessly off balance.
    • 31 Metascore
    • 50 Stephen Holden
    The movie is a continuous barrage of explosions, sneak attacks, chases, life-and-death face-offs, and amazing rescues that are as far-fetched as they are exhilarating. The cheap thrills are compounded by Mikko Alanne and David Battle's screenplay, a wallow in old-time Hollywood boilerplate, some of which you can't believe is being recycled yet again.
    • 31 Metascore
    • 40 Stephen Holden
    Once the plot has sprung into action, High School is a bumpy ride that takes a few amusing dives but never coheres into anything special.
    • 31 Metascore
    • 50 Stephen Holden
    Whatever else it may accomplish, Garden Party, which is clumsily structured but well acted, with pungently realistic dialogue, puts you in a world without a center in which you can't tell upside down from right-side up.
    • 31 Metascore
    • 30 Stephen Holden
    Were it a farce instead of an earnest, paranoid thriller with pretensions to historicity, An American Affair might not seem so offensively exploitative. The fact that it is quite well acted, especially by Ms. Mol, who has the air of a sophisticated 1960s party animal down pat, only compounds the insult.
    • 31 Metascore
    • 30 Stephen Holden
    Squandered in foolish horseplay and on a story that zigzags so far out of control that it feels as if the screenwriter, Steve Adams, pasted together a bunch of zany notions in a frantic search for confusion.
    • 31 Metascore
    • 20 Stephen Holden
    A shrunken, cowardly movie in deep denial of its true nature, which is far uglier than it is ever willing to admit.
    • 31 Metascore
    • 20 Stephen Holden
    You have to admire the effort its attractive cast expends pumping life into stilted, flowery dialogue that confuses pretentious attitudinizing with profound insight.
    • 31 Metascore
    • 30 Stephen Holden
    The Skeptic turns into a cut-and-dried Freudian melodrama that gives repressed memory a supernatural dimension. I'll take a bunch of teenagers terrorized by chain-saw-wielding zombies any day.
    • 31 Metascore
    • 40 Stephen Holden
    Its satire is too broad to carry much of a sting.
    • 31 Metascore
    • 20 Stephen Holden
    At a certain point this would-be shocker suddenly jerks into high gear and becomes a blatant, incompetent rip-off of "Psycho."
    • 31 Metascore
    • 40 Stephen Holden
    If it feels uncomfortably real, it's because its vision of decadence (if you'll pardon the word) is almost unwatchably creepy. Crazy Eyes awakens the same queasiness. Yes, it feels true. But why bother?
    • 31 Metascore
    • 30 Stephen Holden
    The kindest thing to be said for this frantic, cluttered mess of cheesy computer-generated action-adventure clichés is that at least you can see how the estimated $175 million budget was spent.
    • 31 Metascore
    • 30 Stephen Holden
    Doesn't deliver.
    • 31 Metascore
    • 20 Stephen Holden
    There are brave, boundary-breaching movies, and there are mad, foolhardy ones. Harry and Max belongs to the latter breed.
    • 30 Metascore
    • 10 Stephen Holden
    The Hangover Part III, directed by Todd Phillips from a screenplay he wrote with Craig Mazin, is a dull, lazy walkthrough that along with "The Big Wedding" has a claim to be the year's worst star-driven movie.
    • 30 Metascore
    • 30 Stephen Holden
    A lumpy three-and-a-half-hour glob of Civil War history.
    • 30 Metascore
    • 50 Stephen Holden
    The film, which Mr. Rodger directed, wrote, produced and photographed on location in nearly two dozen countries, is the documentary equivalent of a spiritually angled coffee-table book of world travels
    • 30 Metascore
    • 20 Stephen Holden
    The steady performances of Tom Wilkinson, playing a kindly priest, and Emily Watson, an angelic mother, in Alejandro Monteverde’s Little Boy do little to offset the cloying sweetness of a movie that has the haranguing inspirational tone of a marathon Sunday-school lesson.
    • 30 Metascore
    • 10 Stephen Holden
    Ludicrous, impenetrable and headache-inducing.
    • 30 Metascore
    • 0 Stephen Holden
    Putrid comic stew.
    • 30 Metascore
    • 20 Stephen Holden
    As tightly plotted as a standard French farce.
    • 30 Metascore
    • 40 Stephen Holden
    These cinematic feats are accomplished with meat-cleaver editing and awkward, jittery computer-generated imagery. The well-cast voices for the expressionless animals are at least good for a few smirks.
    • 30 Metascore
    • 30 Stephen Holden
    After barely stirring to life, Night Train to Lisbon mercifully expires.
    • 30 Metascore
    • 0 Stephen Holden
    It doesn't get worse than Grown Ups, Adam Sandler's sloppy entry into this year's man-child-comedy sweepstakes. Lazy, mean-spirited, incoherent, infantile and, above all, witless.
    • 30 Metascore
    • 30 Stephen Holden
    This is a movie that runs on magical thinking.
    • 30 Metascore
    • 60 Stephen Holden
    Far from a future cult classic, it turns out to be smarter and more diabolical than you could have guessed at the beginning.
    • 30 Metascore
    • 30 Stephen Holden
    As the film loses its grip on its multiple stories, the title begins to suggest an overheated stew bubbling out of its pot. By the end of the film, the intersecting dramas and histrionic performances have spilled all over the floor, so to speak.
    • 30 Metascore
    • 40 Stephen Holden
    Buried somewhere under the gross-out jokes and the wet-lipped ogling at an endless parade of jiggling bikini-clad flesh in Grind is the kernel of a cheerful little movie about the world of competitive skateboarding.
    • 30 Metascore
    • 40 Stephen Holden
    Except for the usual double entendres in which titles of mainstream Hollywood hits are twisted into salacious puns, Finding Bliss (Bliss is the name of the company's resident star) isn't especially funny. Nor is it sexy, despite flashes of nudity and fleeting glimpses of Grind's works in progress.
    • 30 Metascore
    • 20 Stephen Holden
    The movie, like its lovers, is really two films smushed together in the faint hope that sheer incongruity can grind out laughter.
    • 30 Metascore
    • 50 Stephen Holden
    Tasteless at times, but where's the yuck?
    • 30 Metascore
    • 40 Stephen Holden
    Although the early scenes hold out some promise...the movie quickly runs out of ideas.
    • 29 Metascore
    • 10 Stephen Holden
    Although the concept seems promising enough, it is undone by disastrous casting decisions and an utter lack of ensemble unity.
    • 29 Metascore
    • 30 Stephen Holden
    Pushes its ugly humor further than most.
    • 29 Metascore
    • 30 Stephen Holden
    The sloppy, absent-minded Premonition is a giant step backward for Ms. Bullock.
    • 29 Metascore
    • 30 Stephen Holden
    Rob Schneider runs an obstacle course of taste and emerges remarkably unsullied, considering the choices he faces.
    • 29 Metascore
    • 30 Stephen Holden
    13
    What does it add up to? Nothing much. A tense, paranoid nightmare with a chilly metaphysical overview has been trampled into a blustering, bad cartoon.
    • 29 Metascore
    • 20 Stephen Holden
    Feels like a movie whose story was slapped together during filming. Its three phases -- Southern pastorale, Sudsville and Kablooie -- don’t really connect.
    • 29 Metascore
    • 30 Stephen Holden
    Watching Ms. Zellweger’s joyless performance, you have to wonder what happened to this formerly charming actress who not so long ago seemed on the verge of becoming a softer, more vulnerable Shirley MacLaine.
    • 29 Metascore
    • 20 Stephen Holden
    Impenetrable mess of a movie.
    • 29 Metascore
    • 50 Stephen Holden
    Whether something did or didn’t happen, and the comic confusion as the future bumps into the past: those are the smart parts of a movie that is not as idiotic as it pretends to be.
    • 29 Metascore
    • 40 Stephen Holden
    Like "Cruel Intentions," Swimfan is entertaining enough to be considered a guilty pleasure. But to transcend the teenage movie genre both movies would have needed a baby Glenn Close, and both came up short.
    • 29 Metascore
    • 30 Stephen Holden
    Many of the faces that emerge through the murk appear bug-eyed. And much of the dialogue, which is frequently shouted, is only semi-intelligible.
    • 29 Metascore
    • 10 Stephen Holden
    Barely watchable.
    • 29 Metascore
    • 30 Stephen Holden
    If 1st Night had a glint of social satire, it might have amounted to something more than a frivolous fatuity. But it plays as an arch, hammily acted farce.
    • 29 Metascore
    • 10 Stephen Holden
    Every truly awful movie epic has a point of no return, a moment when the accumulated bad lines and bogus sentimentality become so cloying that the best defense against a mounting queasiness is an awed amusement. The Postman, offers a new opportunity for levity every few minutes after its first hour.
    • 29 Metascore
    • 20 Stephen Holden
    The screenplay is so haphazardly constructed that when the movie seems to be ending, it refuels with preposterous new developments.
    • 29 Metascore
    • 50 Stephen Holden
    Although the odds are against them, Mr. Gazzara and Ms. Moreno succeed in cutting through the forced sitcom banter to create a credible and touching portrait of a marriage of two proud individuals who respect each other even in moments of strife.
    • 28 Metascore
    • 0 Stephen Holden
    There is not a laugh to be found in this rancid, misogynistic revenge comedy.
    • 28 Metascore
    • 20 Stephen Holden
    (Patricia Arquette's) irritated reactions to her dire situation have all the force of a pet owner's whiny complaints when her feline refuses to use the cat box.
    • 28 Metascore
    • 40 Stephen Holden
    What redeems the film…are its three outstanding performances.
    • 28 Metascore
    • 30 Stephen Holden
    So preoccupied with delivering its effects that it doesn't bother to make sense of its story.
    • 28 Metascore
    • 30 Stephen Holden
    Love Sick Love deteriorates into a series of pranks that are not funny enough to register as comedy or brutal enough to qualify as horror.
    • 28 Metascore
    • 30 Stephen Holden
    Doesn't have a genuinely human moment.
    • 28 Metascore
    • 10 Stephen Holden
    Spike Lee carries his political exasperation beyond outrage into chaos. The carelessness with which he hurls his feelings about hot-button topics onto the screen is the filmmaking equivalent of last-ditch marketing: grab everything in sight, roll it up into a big messy mud ball, and hurl it against the wall, hoping that something sticks.
    • 28 Metascore
    • 20 Stephen Holden
    A comedy that is so scatterbrained and long-winded that much of it feels invented on the spot. (It’s also a half-hour too long.)
    • 28 Metascore
    • 40 Stephen Holden
    The characters' quirks lend The Big Shot-Caller a certain authenticity, and it is easy to empathize with Mr. Rhein's Lonely Guy in the City. But this minuscule indie variation of "Saturday Night Fever" moves only in fits and starts. When it ends on a cautiously upbeat note, you feel that you have seen just the stumbling first act of an unfinished drama.
    • 28 Metascore
    • 40 Stephen Holden
    For all its seriousness, Kalamity lacks a steady narrative drive; its speeches are too long, and its themes become repetitive.
    • 28 Metascore
    • 10 Stephen Holden
    To say that Justin Zackham’s farce The Big Wedding takes the low road doesn’t begin to do justice to the sheer awfulness of this star-stuffed, potty-mouthed fiasco.
    • 28 Metascore
    • 30 Stephen Holden
    At least Mr. De Niro, who disappears from the movie until the end, seems to be enjoying himself. The force of his bonhomie gives this murky-looking, empty conceit of a film a desperately needed lift of facetious humor.
    • 28 Metascore
    • 30 Stephen Holden
    For all its visual pizazz A Glimpse Inside the Mind of Charles Swan III has the jerky momentum of a collection of disconnected skits loosely thrown together with only the vaguest notion of where it’s heading or what it all means. At best it is a mildly diverting goof with a charmless lead performance. Its underlying misogyny leaves a sour taste.
    • 28 Metascore
    • 30 Stephen Holden
    Just when its parts should come together, As Cool as I Am crumbles to bits.
    • 28 Metascore
    • 0 Stephen Holden
    For all the cinematic crimes against him, there has been no book-to-screen translation of his work quite as atrocious as Hemingway's Garden of Eden.
    • 27 Metascore
    • 10 Stephen Holden
    The range of Ms. Locklear's lobotomized acting runs from mild irritation to mild melancholy, expressed without expression.
    • 27 Metascore
    • 40 Stephen Holden
    If you're nostalgic for the third grade and all those little wads of wet paper bouncing off the back of your neck, Beverly Hills Ninja is the movie for you. It is one extended fat joke, tricked out in ceremonial robes.
    • 27 Metascore
    • 20 Stephen Holden
    What a frantically dull spectacle this vanity project is.
    • 27 Metascore
    • 40 Stephen Holden
    There are barely enough titter-worthy one-liners in Marc Lawrence's good-natured romantic comedy Did You Hear About the Morgans? to prevent it from sinking under the weight of its clichés.
    • 27 Metascore
    • 50 Stephen Holden
    Everything she (Spears) does seems diluted and secondhand and is never transformed into something original or indelibly self-expressive.
    • 27 Metascore
    • 20 Stephen Holden
    Most of the meager charms of the chaotic romantic farce A Guy Thing spring from the deft comic contortions of Hollywood's ultimate nerdy sidekick, Jason Lee.
    • 27 Metascore
    • 30 Stephen Holden
    Dramatically as well as visually, The Musketeer conflicts with itself by trying to blend grand old- school costume drama and MTV- style rhythm and attitude into the same movie. The juxtapositions are often preposterous.
    • 27 Metascore
    • 20 Stephen Holden
    Ms. Paltrow is not the only star in the film who tries gamely to churn this cinematic glass of diluted skim milk into something resembling butter.
    • 27 Metascore
    • 40 Stephen Holden
    A bland, well-meaning mishmash that never coheres into a dramatic whole.
    • 27 Metascore
    • 0 Stephen Holden
    An excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay.
    • 26 Metascore
    • 20 Stephen Holden
    Despite its occasional flashes of brilliance (every Rudolph film has them), this unsavory stew never comes to a boil.
    • 26 Metascore
    • 0 Stephen Holden
    It's a little sad to see actors of the quality of Christopher Plummer and Jonny Lee Miller struggling straight- faced to dignify this sewage.
    • 26 Metascore
    • 40 Stephen Holden
    I felt tentative stirrings of admiration for an indie movie that so aggressively flouts the hard-shelled conventions of romantic comedy. But more often than not, I felt suffocated by the gaseous sentimentality and lightheadedness of a story that drops in subplots that it can't begin to develop.
    • 26 Metascore
    • 40 Stephen Holden
    A mediocre gross-out movie that barely pushes the envelope.
    • 26 Metascore
    • 30 Stephen Holden
    "Hee Haw” meets “Pulp Fiction” at the meth lab: That describes the style of Pawn Shop Chronicles, a hillbilly grindhouse yawp of a movie that belches in your face and leaves a sour stink.
    • 26 Metascore
    • 10 Stephen Holden
    When a sheriff's deputy (Carla Gugino) visits the house, I Melt With You turns into a ludicrous, cheap horror thriller that sheds any claims to integrity. By the end, you feel nothing, not even contempt.
    • 26 Metascore
    • 10 Stephen Holden
    The movie's computer animation is so cut-rate and its direction (by Joe Chappelle) so slack that the attacks are virtually terror-free.
    • 26 Metascore
    • 30 Stephen Holden
    A movie that pits a substantial actor like Mary McDonnell, playing a New York madam, against a bogus story that crossbreeds noirish affectations and romantic comedy into an unpalatable mush that suggests strawberry ice cream slathered with beer.
    • tbd Metascore
    • 20 Stephen Holden
    Ultimately as sycophantic as it is needling.
    • 25 Metascore
    • 30 Stephen Holden
    So narratively garbled and its screenplay so underwritten that you have to strain to piece together the story.
    • 25 Metascore
    • 0 Stephen Holden
    With its red lighting and Hades-like smoke and fog, the lurid look of The Big Bang suggests a tacky disco inferno. I have a mental picture of the film's creators, stoned out of their minds on who knows what, cackling crazily as they outline a movie that would have more appropriately been titled "The Big Goof."
    • 25 Metascore
    • 50 Stephen Holden
    Instead of building sustained comic set pieces, it takes a machine-gun approach to humor. Without looking at where it's aiming, it opens fire and sprays comic bullets in all directions, trusting that a few will hit the bull's-eye. A few do, but many more don't.
    • 25 Metascore
    • 10 Stephen Holden
    The moment the movie loses its lighthearted spirit is the moment it loses touch with reality
    • 25 Metascore
    • 20 Stephen Holden
    One long, 1980s-style inspirational cliche.
    • 25 Metascore
    • 30 Stephen Holden
    Even for a fairy tale, A Cinderella Story, directed by Mark Rosman from a screenplay by Leigh Dunlap, fails to make sense.
    • 25 Metascore
    • 10 Stephen Holden
    The movie’s most disturbing aspect, of which the filmmakers could not have been unaware, is the physical resemblance between Mr. Elba and Ms. Larter to O. J. and Nicole Brown Simpson. It lends Obsessed a distasteful taint of exploitation.
    • 25 Metascore
    • 10 Stephen Holden
    The best and maybe the only use to be made of the catastrophic screen biography Modigliani is to serve as a textbook outline of how not to film the life of a legendary artist.
    • 25 Metascore
    • 30 Stephen Holden
    May be the opposite of trash, but it is something just as disposable: dead literary meat. Dragged down by a stuffy screenplay clotted with generic period oratory, overdressed to the point that the actors seem physically impeded by their ornate costumes, and hopelessly muddled in its storytelling, the movie is edited with a haphazardness that leaves many dots unconnected.
    • 25 Metascore
    • 20 Stephen Holden
    Doesn't really know how to end. But if its melodramatic final moments are ludicrous, they don't seriously dilute the acidity of the sour little swatch of urban sociology that has come before.
    • 25 Metascore
    • 20 Stephen Holden
    A sloppy, exploitative act of star worship created (if that's the right word for cynical hackwork) around Mr. Lautner, the pouty 19-year-old heartthrob of the "Twilight" franchise.
    • 25 Metascore
    • 10 Stephen Holden
    What does it add up to? Um ... I have no idea and don’t really care. Just because the characters waste their time doesn’t mean you should waste yours watching them circle the drain.
    • 25 Metascore
    • 30 Stephen Holden
    In the end you have to wonder why the highly reputed director Michael Apted ("Coal Miner's Daughter") and the gifted screenwriter Nicholas Kazan ("Reversal of Fortune") chose to go slumming in territory like this. They must have been offered wads of money to do the dirty job.
    • The New York Times
    • 24 Metascore
    • 30 Stephen Holden
    Flagrantly old-fashioned, triple-hankie tear-jerker.
    • 24 Metascore
    • 10 Stephen Holden
    The only reason I can think of to watch Vivi Friedman's flat, satirical farce The Family Tree - and it's not a good enough reason - is the opportunity to play a game of spot the semi-star.
    • 24 Metascore
    • 30 Stephen Holden
    An interminable mess of a film that juggles more characters and undeveloped subplots than it can handle and even manages to bungle the setup.
    • tbd Metascore
    • 40 Stephen Holden
    Tenderness is a movie undone by its formulaic plot conventions, and its need to give its star more screen time than his characters merits.
    • 24 Metascore
    • 20 Stephen Holden
    Ms. O'Neal's Grace is a fluttery Blanche DuBois type who transforms into a ranting madwoman wreaking havoc. Instead of an ax, she wields scissors. From here on, the movie is a grotesquely overacted, ineptly staged screamfest.
    • 24 Metascore
    • 20 Stephen Holden
    The movie is so incoherent that its screenplay, by Mr. Drolet and Mr. Richards, might as well have been scrawled between takes as it was being filmed.
    • 24 Metascore
    • 30 Stephen Holden
    Mr. Leguizamo, 50, still has charisma, but with his maniacal stage persona barely seen and the themes recycled from earlier projects, Fugly! is a dud.
    • 24 Metascore
    • 20 Stephen Holden
    Just Before I Go, the directorial debut of Courteney Cox, lurches along a wobbly line between salacious comic nastiness and nauseating sentimentality. The two strains are so poorly integrated that the screenplay (by David Flebotte) feels like pieces from two different projects mashed together with little oversight.
    • 24 Metascore
    • 30 Stephen Holden
    The movie equivalent of a box of Froot Loops followed by a half-gallon Pepsi chaser.
    • 24 Metascore
    • 0 Stephen Holden
    This strident exposé may gladden the hearts of some anti-’60s conservatives, but it is a shapeless mess steeped in prurience. Its grain of truthfulness, however, is just enough to leave you unsettled in the pit of your stomach.
    • 23 Metascore
    • 20 Stephen Holden
    Terminally scatterbrained gangster farce.
    • 23 Metascore
    • 40 Stephen Holden
    About as scary as a ride on a minor roller coaster, it unrolls its amplified butcher-block shock effects within the first five minutes.
    • 23 Metascore
    • 10 Stephen Holden
    Teeters from a noisy sitcom (only one step removed from "The Beverly Hillbillies") to brickbat satire until it collapses in a pool of redemptive mush.
    • 23 Metascore
    • 30 Stephen Holden
    Long before it ends Dark Tide capsizes and sinks with a sickening glug.
    • 22 Metascore
    • 30 Stephen Holden
    This 95-minute movie is so overstuffed with characters, it would take a whole television season to sort them out and give them any depth. And even then, these people have so little on their minds that 13 hours might not do the trick.
    • 22 Metascore
    • 30 Stephen Holden
    A depressing two-hour infomercial pitching Times Square as the only place in the universe you want to be when the ball drops at midnight on Dec. 31. (Believe me, it's not.)
    • 22 Metascore
    • 30 Stephen Holden
    Strains to be the ne plus ultra of arch, hyper-sophisticated fun, but the laughs are few.
    • 22 Metascore
    • 10 Stephen Holden
    You might reasonably assume that any movie starring Mr. Rourke and Mr. Murray would have to have something to recommend it. But aside from a haunting musical interlude, in which Mr. Rourke, with pathetic ineptitude, mimes playing a trumpet, Passion Play is barely palatable.
    • 22 Metascore
    • 20 Stephen Holden
    The glimmers of wit and carnival humor in the “Fast & Furious” franchise are nowhere to be found in Getaway.
    • 22 Metascore
    • 30 Stephen Holden
    Picturesque seascapes are about the only thing to recommend in Summer in February.
    • 22 Metascore
    • 40 Stephen Holden
    Slick and treacherous.
    • 22 Metascore
    • 20 Stephen Holden
    The movie acts like screwball comedy, but there are no laughs as Daisy and Jay’s connection lurches toward implausible romance.
    • 22 Metascore
    • 20 Stephen Holden
    A catastrophe worth noting only for the presence of its name cast.
    • 22 Metascore
    • 30 Stephen Holden
    For all its intimations of fire and brimstone, the film isn't remotely frightening, and the high-school-level acting doesn't help.
    • 21 Metascore
    • 10 Stephen Holden
    It is the kind of film that only a certain breed of cinematic cultist could tolerate. Its grade-school-level acting, for instance, is so rudimentary that it makes the cast of "The Blair Witch Project" (which Ice From the Sun seems to be consciously parodying at times) appear Stanislavskian.
    • 21 Metascore
    • 30 Stephen Holden
    (Shue's) sweetly likable performance is the only coherent element in a film that has the impersonal feel of a television drama slapped together in a rush.
    • 21 Metascore
    • 20 Stephen Holden
    All you really need to know about Say It Isn't So,the latest flatulent noisemaker from the Farrelly Brothers' gross-out comedy factory, is that late in the movie, Chris Klein punches a cow from behind and finds his arm stuck inside.
    • 21 Metascore
    • 20 Stephen Holden
    An empty, farcical blood bath that's virtually shock-free except for one preposterous plot twist.
    • 21 Metascore
    • 20 Stephen Holden
    A murky ecclesiastical horror film, may be the nadir of the subgenre that produced "The Exorcist" (at its high end) and "Stigmata" (at its middle-to-low end).
    • 21 Metascore
    • 20 Stephen Holden
    Homecoming is coldly efficient for what it is. But what it is is trash.
    • 20 Metascore
    • 20 Stephen Holden
    Less a movie than an essay.
    • 20 Metascore
    • 30 Stephen Holden
    Beyond its eye candy, this wisp of a movie, inspired by Arthur Schnitzler's play "La Ronde," offers only hints of the complicated personalities behind the characters' sleek, well-toned surfaces.
    • 20 Metascore
    • 50 Stephen Holden
    This is the kind of comedy in which the characters are construction-paper cutouts whose abrupt changes of heart are dictated entirely by the preposterous plot and not by psychological or social reality.
    • 19 Metascore
    • 0 Stephen Holden
    This imbecilic, mean-spirited farce, which sneers at adults, leaves you wondering: where are the Three Stooges when we really need them?
    • 19 Metascore
    • 20 Stephen Holden
    A rancid little nothing of a movie that baldly recycles plot elements of "There's Something About Mary."
    • tbd Metascore
    • 0 Stephen Holden
    A convoluted, hysterical mess of a movie with grandiose spiritual airs and not a drop of humor.
    • 19 Metascore
    • 30 Stephen Holden
    As you watch the comedy lurch along, the woozy, sinking sensation it produces suggests a movie slapped together after the consumption of far too many gallons of that spiked eggnog.
    • 19 Metascore
    • 30 Stephen Holden
    Even if it ends on a hopeful note, this is a feel-bad movie that leaves a bitter aftertaste.
    • 18 Metascore
    • 30 Stephen Holden
    Little more than a loose- jointed succession of goofy "Saturday Night Live"-style sketches and sight gags inspired by an actual event that is nearly half a century behind us.
    • 18 Metascore
    • 0 Stephen Holden
    The movie... hasn't the foggiest notion whether it's a soap opera or a horror film, and wanders around in a generic fog.
    • 18 Metascore
    • 20 Stephen Holden
    With the dog days of August upon us, think of this dog of a movie as the cinematic equivalent of high humidity.
    • 18 Metascore
    • 30 Stephen Holden
    The kindest thing to be said of Movie 43, a star-saturated collection of crude one-joke vignettes made with big-time directors, is that most of the participants seem to relish being naughty.
    • 18 Metascore
    • 20 Stephen Holden
    Deteriorates into a gory shoot-'em-up gangster movie with a quick-fix ending that leaves many threads dangling. It could have been something more.
    • 17 Metascore
    • 30 Stephen Holden
    You might blame Nora Ephron, whose screenplay for “When Harry Met Sally” established the formula that I Hate Valentine’s Day runs into the ground. Compared with this, Ms. Ephron is Chekhov.
    • 16 Metascore
    • 10 Stephen Holden
    It is painful to watch an actor as skillful as Mr. Dorff reduced to delivering flat repetitive dialogue that would make any actor look foolish.
    • 16 Metascore
    • 10 Stephen Holden
    A film that desperately wants to be a music video circa 1983.
    • 15 Metascore
    • 40 Stephen Holden
    Wants to be an outdoor, barbecue-grilled "Barbershop" but lacks the pungency and honesty of its prototype.
    • 15 Metascore
    • 40 Stephen Holden
    A clever if muddled collection of riffs on the "Blair Witch" juggernaut, dressed up with intellectual pretensions by Joe Berlinger, who directed this film with a chortling zest.
    • 15 Metascore
    • 20 Stephen Holden
    Robert Kane Pappas’s documentary about scientific experiments in life extension, makes a digressive, disorganized hash of a fascinating topic.
    • 14 Metascore
    • 30 Stephen Holden
    They play cotton candy effigies of themselves named Kelly and Justin, and the best that can be said is that they don't embarrass themselves.
    • 13 Metascore
    • 10 Stephen Holden
    The only heat that rises from the movie is mechanical.
    • 13 Metascore
    • 10 Stephen Holden
    A preposterous, prurient whodunit.
    • 12 Metascore
    • 10 Stephen Holden
    So lazy and slipshod it confuses the mere flashing of kinky soft-core imagery with naughty fun.
    • 11 Metascore
    • 0 Stephen Holden
    Incoherent mess of a film.
    • 10 Metascore
    • 0 Stephen Holden
    Bottom-feeding monstrosity of a comedy.
    • 9 Metascore
    • 10 Stephen Holden
    Might have generated a laugh or two had it not forced the actors into uncomfortable extremes of caricature.
    • 9 Metascore
    • 0 Stephen Holden
    So inept on every level, you wonder why the distributor didn't release it straight to video, or better, toss it directly into the trash.
    • 9 Metascore
    • 0 Stephen Holden
    Even by the standards of its bottom-feeding genre, Dirty Love clings to the gutter like a rat in garbage.
    • 8 Metascore
    • 10 Stephen Holden
    As the jaundiced, disjointed, drug-infested story heads toward its dismal conclusion, its reputable actors vainly struggle to infuse the goings-on with a deadpan psychotic zaniness. But even when viewed sideways, Perception is not funny; it's hardly anything at all.
    • 7 Metascore
    • 10 Stephen Holden
    A confusedly misconceived hybrid of interracial buddy comedy and imitation Marx Brothers farce.
    • 6 Metascore
    • 10 Stephen Holden
    This stomach-turning exercise in gratuitous sadism -- wears a nasty smirk on its face right down to its end title comment, "Gotcha."
    • 5 Metascore
    • 0 Stephen Holden
    Cheesy, amateurish film.
    • 1 Metascore
    • 0 Stephen Holden
    The Singing Forest was written and directed by Jorge Ameer, whose film "Strippers" opened three years ago and remained the single worst movie I had ever reviewed -- until now.
    • 1 Metascore
    • 0 Stephen Holden
    Thoroughly incoherent... A dreary fizzle. [12 Jan 1996, p.C12]
    • The New York Times
    • tbd Metascore
    • 70 Stephen Holden
    Make of it what you will: like its subject, Saint Misbehavin' is an unabashed love letter to the world that defies the cynicism of our age.
    • tbd Metascore
    • 60 Stephen Holden
    This intriguing, sometimes frustrating, in some ways amateurish movie is a work of vaulting artistic ambition.
    • tbd Metascore
    • 90 Stephen Holden
    It would be comforting to imagine that The Optimists, Goran Paskaljevic's viciously funny gloss of Voltaire's "Candide," was a site-specific satire of this Serbian director's homeland in the post-Milosevic era.
    • tbd Metascore
    • 50 Stephen Holden
    There is much more to be explored than this noble documentary, made on a tiny budget, has the resources to examine.
    • tbd Metascore
    • 50 Stephen Holden
    Heist feels rushed. Many of its points could use elaboration. Its final section is a to-do list delivered in the tone of a high school civics teacher.
    • tbd Metascore
    • 60 Stephen Holden
    Heartbreaking stories of families who have lost loved ones alternate with the voices of experts from academia, law enforcement and politics who give their views on the causes of the crisis.
    • tbd Metascore
    • 70 Stephen Holden
    Three-Headed Bird Village - the setting for Xiaolu Guo's stingingly funny satire, UFO in Her Eyes - is a quiet agricultural hamlet in the Guangxi province of southern China that is uprooted by instant globalization.
    • tbd Metascore
    • 80 Stephen Holden
    This 2 ½-hour film, which is described by Mr. Tiravanija as "not a documentary and not a narrative" but "more of a portraiture," rewards concentration once you adjust to its glacial pace and its radically minimalist aesthetic. It has no screenplay or story line.
    • tbd Metascore
    • 60 Stephen Holden
    The optimism and good humor of John Lavin's crude, endearing documentary Hollywood to Dollywood are so unquenchable that its disturbing underlying theme - growing up gay in the South is no picnic - is partly obscured by its openheartedness.
    • tbd Metascore
    • 80 Stephen Holden
    Like a Bela Tarr film it leads you to consider the breadth of eternity, the limits of human consciousness and the possibility of reincarnation.
    • tbd Metascore
    • 70 Stephen Holden
    The close-ups of faces convey reams of inchoate emotion and enhance the stumbling poetry mouthed by characters whose urge to connect conflicts with their innate sense of caution.
    • tbd Metascore
    • 60 Stephen Holden
    That the movie exists at all attests to the courage of the participants to see it through to the end. Out Loud bleeds with sincerity.
    • tbd Metascore
    • 50 Stephen Holden
    In its stunted theatrical version, the second half is a sketchy digest of events that leaves you feeling cheated.
    • tbd Metascore
    • 50 Stephen Holden
    West, for all its intensity, becomes too bogged down in detail to be as strong as it might have been.
    • tbd Metascore
    • 80 Stephen Holden
    Ms. Benoit’s screenplay is unapologetically schematic in its depiction of a cross-section of Haitian exiles, but each story forcefully registers.

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