Stephen Holden

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For 2,186 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 3.2 points lower than other critics. (0-100 point scale)

Stephen Holden's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Gideon's Army
Lowest review score: 0 King's Ransom
Score distribution:
2186 movie reviews
    • 38 Metascore
    • 40 Stephen Holden
    The film's biggest weakness is its unsympathetic main character, a snippy, nervous, expressionless control freak who gets more despicable as the story unfolds.
    • 48 Metascore
    • 40 Stephen Holden
    Faced an insoluble problem: how do you make a boundary-shattering gross-out farce about the porn business that isn't itself pornographic? Having the actors wear silly costumes embellished with sex toys just won't do the trick.
    • 58 Metascore
    • 40 Stephen Holden
    Certainly an honorable film. But honorable is not always watchable.
    • 49 Metascore
    • 40 Stephen Holden
    Stagedoor is like leafing through a collection of snapshots assembled with few captions and no text.
    • 47 Metascore
    • 40 Stephen Holden
    With its many unsolved mysteries, WXIII joins a long list of film-noir projects that end up stranded in the maze of their own invention.
    • 49 Metascore
    • 40 Stephen Holden
    A lip-synching hall of mirrors, it is essentially a piece of highbrow karaoke.
    • 53 Metascore
    • 40 Stephen Holden
    The Program, much to its detriment, concentrates almost exclusively on the history of the doping effort.
    • 51 Metascore
    • 40 Stephen Holden
    “Saturday Night Live” deserves much better than the documentary equivalent of what a book editor would surely dismiss as a rushed, careless clip job.
    • 48 Metascore
    • 40 Stephen Holden
    This season's answer to "Dr. Seuss' How the Grinch Stole Christmas," it's an overstuffed grab bag in which lumps of coal are glued together with melted candy.
    • 42 Metascore
    • 40 Stephen Holden
    Although this is potentially juicy stuff, it is as dry and tasteless as a shrunken piece of fruit left in the refrigerator far too long.
    • 48 Metascore
    • 40 Stephen Holden
    To say it feels reasonably authentic doesn’t mean it’s very good. Mr. Kelly, who directed the well-received “I Am Michael,” starring Mr. Franco as a Christian pastor with a gay past, clearly knows the territory, but he barely skims the surface.
    • 60 Metascore
    • 40 Stephen Holden
    Although there's plenty of opportunity for low comedy in the notion of an emperor and an oaf exchanging roles, The Emperor's New Clothes, much to its detriment, doesn't pursue them.
    • 47 Metascore
    • 40 Stephen Holden
    A cream puff with a melted marshmallow inside it. As the temperature rises, the whole gooey thing starts to melt.
    • 41 Metascore
    • 40 Stephen Holden
    The Last New Yorker would like to think of itself as a comic fairy tale, but Lenny’s pride and self-delusion are too pathetic to be amusing.
    • 55 Metascore
    • 40 Stephen Holden
    Milk and Honey is the kind of nightmare-in-a-box you might expect if Neil LaBute remade Martin Scorsese's "After Hours" on a shoestring.
    • 39 Metascore
    • 40 Stephen Holden
    If Dot the i, the directorial debut of Matthew Parkhill, has a crass visual flash, it fails to give its characters any credible substance. Even after it purports to eviscerate their psyches, they remain diagrammatic contrivances.
    • 56 Metascore
    • 40 Stephen Holden
    It all seems - dare I say it? - of little consequence.
    • 38 Metascore
    • 40 Stephen Holden
    Tidy, predictable, excruciatingly fussy in its details and lacking the tiniest glimmer of humor, The Life Before Her Eyes contradicts the director’s claim in the production notes that the movie “is not a perfectly ordered experience with clear causes and effects.”
    • 27 Metascore
    • 40 Stephen Holden
    A bland, well-meaning mishmash that never coheres into a dramatic whole.
    • 53 Metascore
    • 40 Stephen Holden
    By the time it reaches a weak, ambiguous conclusion, the movie has gone everywhere and nowhere, much like its psychotic main character, Bob Maconel (Christian Slater).
    • 51 Metascore
    • 40 Stephen Holden
    The saving graces of the film, written and directed by Chris Kennedy, are its performances, especially Mr. Roxburgh's portrayal of a floundering lost soul with little to show for an itinerant life, and Ms. Otto's ditsy, mercurial and ultimately touching country singer.
    • 42 Metascore
    • 40 Stephen Holden
    The performances are so skillful that the actors almost carry it off. But as the shocks come thicker and faster, the credibility of The Intended, wears away.
    • 31 Metascore
    • 40 Stephen Holden
    Its satire is too broad to carry much of a sting.
    • 51 Metascore
    • 40 Stephen Holden
    So intent on pushing its virtuous agenda that its characters often sound like mouthpieces parroting predigested attitudes.
    • 59 Metascore
    • 40 Stephen Holden
    Feels too cramped, indoorsy and bloodless to catch romantic fire.
    • 49 Metascore
    • 40 Stephen Holden
    Son of a Gun adds to the mystique that Australian crime films are meaner, nastier and more brutish than their American counterparts. But it changes style roughly every half-hour. And behind its macho preening is a preposterous, routinely executed story.
    • 45 Metascore
    • 40 Stephen Holden
    That Flipped isn't insufferably cute is a measure of its integrity. But it still strains to view the world through the eyes of children without a filter of grown-up cynicism. It is plodding and awkwardly paced.
    • 47 Metascore
    • 40 Stephen Holden
    The movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery.
    • 42 Metascore
    • 40 Stephen Holden
    The movie is in dire need of character development and a wider social context.
    • 48 Metascore
    • 40 Stephen Holden
    An occasionally savvy farce that suffers from attention deficit disorder.
    • 30 Metascore
    • 40 Stephen Holden
    Bulletproof, directed by Ernest Dickerson from a screenplay by Joe Gayton and Lewis Colick, is really a screwball love story disguised as a macho action film.
    • 44 Metascore
    • 40 Stephen Holden
    Compacted into an 80-minute mishmash of interviews, confessions and sketches, melded into a shaky mosaic, the answers from a cross section of men are shallow, self-serving and ultimately unenlightening.
    • 49 Metascore
    • 40 Stephen Holden
    The movie never recovers from its jarring turn into a rushed, unconvincing caper movie with a blasé, Robin Hood attitude.
    • 40 Metascore
    • 40 Stephen Holden
    The grittier side of Coming Up Roses, which Ms. Albright wrote with Christina Lazaridi, is unconvincing boilerplate grunge.
    • 35 Metascore
    • 40 Stephen Holden
    A business course on cutthroat capitalism disguised as a slacker comedy: That’s the kindest way to describe Michael Lehmann’s Flakes.
    • 35 Metascore
    • 40 Stephen Holden
    Mary Lambert, who directed the original Pet Sematary, has returned for the sequel, which, like its forerunner, is much better at special effects than at creating characters or telling a coherent story.
    • 38 Metascore
    • 40 Stephen Holden
    Because Kids in America can't decide whether it wants to be a stock teenage comedy or something more, it ends up stranded in the middle of nowhere.
    • 63 Metascore
    • 40 Stephen Holden
    Although neither Ms. Berry nor Mr. Del Toro can be faulted in their scenery-chewing moments, these star turns make you uncomfortably aware that they are Oscar-conscious auditions for the Big Prize. Their naked ambition subtly contaminates a movie that, despite its fine acting, has the emotional impact of a general anesthetic.
    • 51 Metascore
    • 40 Stephen Holden
    In aggressively sunny picker-uppers like the Marigold movies, there is a thin line between adorable and insufferable. And in the second “Marigold,” Mr. Patel has succumbed to his tendency toward cuteness.
    • 47 Metascore
    • 40 Stephen Holden
    Watching it is like a slow injection of a numbing anesthetic. It may send a chill to your heart, but along with it goes a warning signal to your brain not to believe a word of this hooey.
    • 48 Metascore
    • 40 Stephen Holden
    There is a paradox at the heart of the film. It strains to celebrate diversity and individualism, while its processed music exemplifies strict corporate teamwork.
    • 68 Metascore
    • 40 Stephen Holden
    It has the loose-jointed feel of a bunch of sketches packed together into a narrative that doesn't gather much momentum. Its conspiratorial eager beavers are so undeveloped that they could hardly even be called types. You don't care for a second what happens to them.
    • 47 Metascore
    • 40 Stephen Holden
    As the film veers uncertainly between meticulous historical recapitulation and shameless hokum, it brings enough characters to populate a mini-series. When the historical details become too clogged, the movie shamelessly overcompensates by wallowing in cheap sentimentality.
    • 58 Metascore
    • 40 Stephen Holden
    The film is so flat that it leaves you wondering if Mr. Kaniuk's book is ultimately untranslatable to the screen.
    • 53 Metascore
    • 40 Stephen Holden
    Gets lost in a fog of indecision and compromise.
    • 26 Metascore
    • 40 Stephen Holden
    A mediocre gross-out movie that barely pushes the envelope.
    • 34 Metascore
    • 40 Stephen Holden
    The best and maybe the only way to appreciate Alice Through the Looking Glass is to surrender to its mad digital excess and be whirled around through time and space in a world of grotesque overabundance.
    • 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.
    • 39 Metascore
    • 40 Stephen Holden
    Written and directed by Tim Kirkman (“Dear Jesse,” “Loggerheads”), Lazy Eye has realistic dialogue and believable performances by its stars. But unless you consider subjects like saltwater swimming pools and the movie “Harold and Maude” fascinating topics, “Lazy Eye” has little to say.
    • 56 Metascore
    • 40 Stephen Holden
    Although it exhibits a heartfelt connection with the city's half-invisible population of illegal immigrants, its myriad inconsistencies and strained plotting are increasingly frustrating.
    • 36 Metascore
    • 40 Stephen Holden
    So oblivious to genre that it occupies its own special stylistic niche, if you can imagine such a thing as a romantic revenge farce.
    • 52 Metascore
    • 40 Stephen Holden
    Don't Tell, which was unaccountably nominated for an Oscar for best foreign language film, is no better than a second-tier candidate for the Lifetime Channel.
    • 56 Metascore
    • 40 Stephen Holden
    After a certain point, watching it is like listening to the ravings of an increasingly incoherent and abusive drunk.
    • 41 Metascore
    • 40 Stephen Holden
    Stoned accomplishes the unlikely feat of making the golden years before medical science and the law caught up with rock culture look dull.
    • 48 Metascore
    • 40 Stephen Holden
    As an instructional movie on the sport, Ride offers some useful tips, but beyond that, it feels like a slightly bizarre vanity project.
    • 53 Metascore
    • 40 Stephen Holden
    Bland, obsequious adaptation of John Grogan’s best-selling memoir.
    • 45 Metascore
    • 40 Stephen Holden
    Although the opening scene suggests a dark urban satire, Blade quickly turns into a cartoonish futuristic action-adventure yarn in which Blade is the only thing keeping humanity from being exterminated by vampires in a hematological holocaust.
    • 66 Metascore
    • 40 Stephen Holden
    Veering wildly between farce and suds, the movie never makes up its mind whether it's a spoof, a soap opera or a feminist pep talk.
    • 36 Metascore
    • 40 Stephen Holden
    Likable but muddled screen biography.
    • 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.
    • 41 Metascore
    • 40 Stephen Holden
    A movie that knows much better than to try to make sense. It is essentially a strung-together series of gags, most of them thought up by Lloyd, an inveterate practical joker.
    • 22 Metascore
    • 30 Stephen Holden
    Strains to be the ne plus ultra of arch, hyper-sophisticated fun, but the laughs are few.
    • 34 Metascore
    • 30 Stephen Holden
    The screenplay never begins to finds a workable balance between wit and adventure. And the performances in several smaller roles are so mechanical that they lend Kill Me Later the tone of a vanity production.
    • 28 Metascore
    • 30 Stephen Holden
    Just when its parts should come together, As Cool as I Am crumbles to bits.
    • 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.
    • 36 Metascore
    • 30 Stephen Holden
    Bravetown, directed by Daniel Duran from a screenplay by Oscar Orlando Torres, can sometimes drown in its own tears.
    • 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.
    • 49 Metascore
    • 30 Stephen Holden
    Mr. Gyllenhaal’s strong performance still doesn’t add enough substance to a film that is hollow at the center. It’s mostly the fault of Mr. Sipe, who seems to believe that saying nothing is saying something.
    • 37 Metascore
    • 30 Stephen Holden
    The movie plays like a made-for-television quickie.
    • 36 Metascore
    • 30 Stephen Holden
    Feels like a desperate attempt to stretch a flimsy half-hour made-for-cable concept into a feature film.
    • 39 Metascore
    • 30 Stephen Holden
    This poorly acted, ramshackle tour of the lower echelons of the Los Angeles rock scene has the feel of a largely improvised home movie filmed without retakes, and its sense of humor could only be fully appreciated by struggling musicians.
    • 41 Metascore
    • 30 Stephen Holden
    The movie, which imagines its principal characters as metaphorically ticking time bombs, never convincingly portrays their passions.
    • 34 Metascore
    • 30 Stephen Holden
    Makes no psychological sense. Even within the convoluted realm of film noir, the development of the relationships defies any logic.
    • 49 Metascore
    • 30 Stephen Holden
    The guiding philosophy of The Price of Milk seems to be that if you throw something on the screen and call it a fairy tale, it has to mean something. But it doesn't.
    • 34 Metascore
    • 30 Stephen Holden
    The re- enactments, however fascinating they may be as history, are too crude to serve the work especially well.
    • 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.
    • 35 Metascore
    • 30 Stephen Holden
    Shirley’s instant metamorphosis from insecure high school student to ruthless madam is ludicrous in spite of the best efforts of the talented Ms. Waterston to convince you otherwise. The Babysitters has the increasingly jerky momentum of a film that was butchered in the cutting room, sacrificing continuity and character development to whip the plot forward.
    • 44 Metascore
    • 30 Stephen Holden
    Unlike the juicy, overripe prose in the novel from which it was adapted, Mr. DeCubellis’s screenplay is utterly lacking in style. Mr. Brody captures his character’s attitude, but the colorless screenplay robs the character of literary imagination.
    • 37 Metascore
    • 30 Stephen Holden
    The movie’s only fresh element is the wintry setting, which shrouds everything in a mood of weary fatalism. Otherwise, it’s the same old, same old, efficiently discharged and utterly disposable.
    • 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.
    • 45 Metascore
    • 30 Stephen Holden
    Metamorphoses from a character study into a confusingly edited sampler of sexual possibilities that feels both programmatic and old-hat.
    • 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.
    • 34 Metascore
    • 30 Stephen Holden
    A semicoherent, overacted mélange of travelogue, farce and suds.
    • 51 Metascore
    • 30 Stephen Holden
    As this strained, foul-mouthed exercise in gallows humor proceeds, God’s Pocket sustains a facade of meanspirited deadpan comedy. But there are no laughs, not even smirks to be had.
    • 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.
    • 43 Metascore
    • 30 Stephen Holden
    The movie never bothers to show you life inside a shelter dormitory or tries to convey a broader vision of the city’s street culture. It is too busy showcasing its star Jennifer Connelly (Mr. Bettany’s wife) in degrading situations.
    • 56 Metascore
    • 30 Stephen Holden
    Unlike such forerunners as “Clueless” and “Mean Girls,” however, this movie, doesn’t have a believable moment in it.
    • 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.
    • 65 Metascore
    • 30 Stephen Holden
    In the movie's cheapest, most exploitative gesture - just as it is about to run out of tricks - a snake slithers into the pine box in which Paul awakens bound and gagged, not knowing where he is. With that gimmick, the movie sacrifices its last shred of integrity.
    • 47 Metascore
    • 30 Stephen Holden
    A grindingly conventional comedy that insists on tying up its subplots in pretty ribbons and bows.
    • 47 Metascore
    • 30 Stephen Holden
    Overcompensates for its sloppiness with loud, knockabout farce.
    • 35 Metascore
    • 30 Stephen Holden
    As A Rumor of Angels reveals itself to be a sudsy tub of supernatural hokum, not even Ms. Redgrave's noblest efforts can redeem it from hopeless sentimentality.
    • 51 Metascore
    • 30 Stephen Holden
    This crude, inspirational tear-jerker is as sweet as a bowl of instant oatmeal smothered in molasses. It should please those who honestly believe that Santa Claus and God are synonymous; others may retch.
    • 65 Metascore
    • 30 Stephen Holden
    Just when it seems as though the language of insult and humiliation couldn’t get any nastier, the movie escalates the barrage.
    • 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.
    • 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.
    • 45 Metascore
    • 30 Stephen Holden
    Evokes a mood of tenderness. Beyond that, it is a weightless, sentimental and intellectually lazy effort from an independent filmmaker whose movies seem increasingly insubstantial.
    • 36 Metascore
    • 30 Stephen Holden
    But for all its provocation, Kedma is an often dull, incoherent film, and its characters remain frustratingly sketchy
    • 42 Metascore
    • 30 Stephen Holden
    It isn't saying much, but at least her (Carey) work here is more substantial than in the catastrophic "Glitter."
    • 29 Metascore
    • 30 Stephen Holden
    Pushes its ugly humor further than most.
    • 34 Metascore
    • 30 Stephen Holden
    Zoolander 2 has enough plots for several movies. They are so jammed together that they more or less cancel each other out.
    • 38 Metascore
    • 30 Stephen Holden
    The storytelling is infuriatingly coy, as if Mr. Haggis were trying to fool you (and himself) into thinking that he has something to say. Third Person finds Mr. Haggis, like Mr. Neeson’s screen alter ego, running on empty.
    • 55 Metascore
    • 30 Stephen Holden
    Muddled, pretentious assemblage of film clips of the band shot between 1966 and 1971.
    • 29 Metascore
    • 30 Stephen Holden
    The sloppy, absent-minded Premonition is a giant step backward for Ms. Bullock.
    • 46 Metascore
    • 30 Stephen Holden
    Might be described as a muddy, cliché-ridden sudsfest that lurches uncertainly between comedy and soap opera without finding its emotional or visual footing.
    • 45 Metascore
    • 30 Stephen Holden
    Sad to say: There is far more crackle in an average episode of “Law & Order.”
    • 55 Metascore
    • 30 Stephen Holden
    Its indictment of capitalism is so shrill and one-note that it may just as easily set off fits of giggling, because its characters are so ridiculously evil.
    • 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.
    • tbd Metascore
    • 30 Stephen Holden
    Sergio's urban melodrama Under Hellgate Bridge suggests the contemporary equivalent of any number of 1930's B movies.
    • 35 Metascore
    • 30 Stephen Holden
    The campy new screen adaptation of The Three Musketeers has all the reality and visceral excitement of a $75 million literary theme park dotted with fancy villages heavily patrolled by security.
    • 53 Metascore
    • 30 Stephen Holden
    A movie like We Are Marshall stands or falls on its ability to make you feel the pain and loss of individuals in a place where community pride and football are one and the same. As the film, directed by McG (the "Charlie's Angels" movies) from a wooden screenplay by Jamie Linden, follows a handful of Huntington residents during the months after the accident, not one of them comes fully to life.
    • 34 Metascore
    • 30 Stephen Holden
    The screenplay is closer in tone to an uneasy mixture of post-"Seinfeld" bile and unfocused Altmanesque satirical misanthropy. Partly because the story's structure is so haphazard, most of the jokes land with a thud.
    • 51 Metascore
    • 30 Stephen Holden
    As its momentum accelerates, and its special effects transform it into a pulpy cartoon, Predators loses its judgment and turns into a frantic, clichéd chase film. This chaotic stew of fire, blood, mud and explosives is so devoid of terror and suspense that any metaphorical analysis is rendered moot.
    • 61 Metascore
    • 30 Stephen Holden
    One
    The film's spareness and lack of words seem affected and ultimately unrealistic. At such moments, its refusal to put things into words and its crushing sense of gloom turn self-defeating.
    • 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.
    • 52 Metascore
    • 30 Stephen Holden
    The movie’s principal saving grace is Ms. Winslet’s convincing portrayal of Adele, a despairing woman of low self-esteem just a twitch away from a nervous breakdown. In almost every other respect, this overbaked romantic hokum is preposterous.
    • 44 Metascore
    • 30 Stephen Holden
    The film's spiritual deck is stacked. In the mawkish tradition of movies like "Simon Birch," "Wide Awake," "August Rush" and "Hearts in Atlantis," Henry Poole Is Here is insufferable hokum that takes itself very, very seriously.
    • 40 Metascore
    • 30 Stephen Holden
    Ultimately seems naïve. In developing the comparison of sex and cannibalism, it never goes beyond the standard Draculian symbol of blood to include other bodily substances.
    • 34 Metascore
    • 30 Stephen Holden
    The Ledge, it should be noted, is not dumb. What undoes it is its mechanical structure: a stale dramatic formula of the sort taught in elementary playwriting classes.
    • 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.
    • 33 Metascore
    • 30 Stephen Holden
    Virginia is a wildly unpredictable piece of work. Playing the kind of role that is often associated with Laura Dern, Ms. Connelly gives a brave, full-tilt performance that is true to the character but can't hold the movie together.
    • 37 Metascore
    • 30 Stephen Holden
    War, Inc. is gonzo moviemaking with a bleeding heart. A satirical farce that wants to be "Dr. Strangelove" for the age of terrorism, it is a zany, nihilistic free-for-all that goes soft.
    • 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.
    • 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.
    • 36 Metascore
    • 30 Stephen Holden
    After the Fall belongs to a type of movie that is too lazy to connect the dots and fill in the blanks between its supposedly teachable moments.
    • 45 Metascore
    • 30 Stephen Holden
    Not even the skillful performances of its stars, Susan Sarandon and Pierce Brosnan, playing the boy’s parents, can cover up the mysterious gaps in continuity of a screenplay whose thudding dialogue spells out every emotion while refusing to clarify many crucial plot details.
    • 45 Metascore
    • 30 Stephen Holden
    The kindest thing to be said about this deluxe photo spread of a film is that Sienna Miller's Edie and Guy Pearce's Andy capture their characters' images and body language with relative precision.
    • 22 Metascore
    • 30 Stephen Holden
    Picturesque seascapes are about the only thing to recommend in Summer in February.
    • 34 Metascore
    • 30 Stephen Holden
    Muddled little dud of a melodrama.
    • 36 Metascore
    • 30 Stephen Holden
    Filled with awful, recycled jokes.
    • 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.
    • 57 Metascore
    • 30 Stephen Holden
    Filmed in Rwanda, Shake Hands With the Devil is certainly panoramic. But the best that can be said of the film is that it is an honorable dud.
    • 52 Metascore
    • 30 Stephen Holden
    For much of the movie, the kinetic furor of the game sequences helps camouflage the weaknesses of a screenplay that is a mechanically contrived series of power struggles.
    • 48 Metascore
    • 30 Stephen Holden
    A hopeless jumble of visual and linguistic styles.
    • 43 Metascore
    • 30 Stephen Holden
    Terminally glum and waterlogged.
    • 48 Metascore
    • 30 Stephen Holden
    The movie works so diligently to convey a spirit of heroic uplift and fails so completely that it feels like a tragic misfire.
    • 47 Metascore
    • 30 Stephen Holden
    The indoor scenes are so dark that you can barely make out the outlines of the bodies, much less distinguish who is who. Because almost half the film is this dim, it makes for a frustrating viewing experience. The jerky cinematography compounds the irritation.
    • 35 Metascore
    • 30 Stephen Holden
    [An] overlong, drab, not-so-funny sports comedy.
    • 46 Metascore
    • 30 Stephen Holden
    Strives desperately for a zaniness that is largely absent from the screenplay and from comic performances that are too blank and unfocused to register as parody.
    • 39 Metascore
    • 30 Stephen Holden
    Inhale is a creepy medical thriller in the tradition of "Coma" that amps up the tension and suspense by slicing up time.
    • 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.
    • 36 Metascore
    • 30 Stephen Holden
    The cinematographer-turned-director likes his MTV-style editing so much that in his drive for hyperkinetic overkill he sacrifices coherence to wallow in barely contained chaos.
    • 40 Metascore
    • 30 Stephen Holden
    Nightwatch spends so much time churning up eerie atmospheric effects that it doesn't have time to develop its preposterous story in which Martin finds himself accused of the murders.
    • 31 Metascore
    • 30 Stephen Holden
    Doesn't deliver.
    • 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.
    • 44 Metascore
    • 30 Stephen Holden
    Amusing one-joke film.
    • 25 Metascore
    • 30 Stephen Holden
    So narratively garbled and its screenplay so underwritten that you have to strain to piece together the story.
    • 36 Metascore
    • 30 Stephen Holden
    A very shallow comedy. For the real thing, rent “The Ref,” in which Kevin Spacey and Judy Davis, with a boost from Glynis Johns, set the house on fire.
    • 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.
    • 57 Metascore
    • 30 Stephen Holden
    Despite its sociological tidbits and flashes of musical vitality, Saudade do Futuro never goes anywhere.
    • 43 Metascore
    • 30 Stephen Holden
    Wish I Was Here is so eager to please that you are never allowed to feel uncomfortable for more than a minute or two before a reassuringly stale joke rushes in to pat you on the head.
    • 47 Metascore
    • 30 Stephen Holden
    This candy-colored movie, whose soft hues match the colored cereal loops that Alby devours at his mother's house, is a post-Freudian fable that wants to be a kind of anti-"Wizard of Oz" for a culture inundated with toys and toons.
    • 37 Metascore
    • 30 Stephen Holden
    Good intentions do not guarantee good movies, or even watchable ones. A sad case in point is The Kid and I.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 30 Stephen Holden
    A candy-colored, unabashedly sentimental movie.
    • 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.
    • 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.
    • 51 Metascore
    • 30 Stephen Holden
    The movie, directed by Gavin O’Connor (“Tumbleweeds”), makes little sense. The screenplay, by Bill Dubuque, is so determined to hide its cards that when the big reveal finally arrives, it feels as underwhelming as it is preposterous.
    • 49 Metascore
    • 30 Stephen Holden
    Solemn, sentimental bore of a movie that suffocates in its own predictability and watered-down psychobabble.
    • 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.
    • 42 Metascore
    • 30 Stephen Holden
    Mental wildly overplays the kookiness and quirk.
    • 49 Metascore
    • 30 Stephen Holden
    The question is why. Why would a star of Michael Douglas's stature and intelligence attach himself to a Washington thriller as deeply ridiculous, suspense-free and potentially career-damaging as The Sentinel?
    • 35 Metascore
    • 30 Stephen Holden
    If nothing else the ramshackle, scatterbrained rom-com What's Your Number? confirms the arrival, heralded by "Bridesmaids," of a new subgenre, the smutty chick flick, into the Hollywood mainstream.
    • 28 Metascore
    • 30 Stephen Holden
    So preoccupied with delivering its effects that it doesn't bother to make sense of its story.
    • 33 Metascore
    • 30 Stephen Holden
    The movie has a frantic staccato style that is more game-oriented than cinematic.
    • 33 Metascore
    • 30 Stephen Holden
    The movie, which is crudely dubbed into English, lacks the raucous, anything-for-a-shock carnival humor of its American prototypes. After it's over, the only question worth asking is whether dear, cozy old Heidelberg can survive the slander.
    • 36 Metascore
    • 30 Stephen Holden
    The screenplay, by Mr. Cooper and Jonathan D. Krane, is so sketchy that it feels like a hastily executed first draft.
    • 37 Metascore
    • 30 Stephen Holden
    Too lazy and too loosely structured to accomplish much besides conveying some vivid physical impressions. There is no narrator, and the structure that exists is clouded by the new-age mumbo-jumbo of eight principal commentators.
    • 37 Metascore
    • 30 Stephen Holden
    So why? Why would stars of the magnitude of Mr. Cage and Ms. Kidman sign on to a project whose screenplay is so inept that the movie, even if profitable, will stand as a career-impeding setback? Can't they read?
    • 39 Metascore
    • 30 Stephen Holden
    The product is so synthetic it has only attitude where its heart ought to be.
    • 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.)
    • 48 Metascore
    • 30 Stephen Holden
    Like Warwick himself, the movie begins to run amok after a taut and tantalizing first act. Not even Mr. Hyde Pierce's best efforts can make sense of a character who by the end of the film seems to be a completely different person with the same name.
    • 37 Metascore
    • 30 Stephen Holden
    A low point in the director’s career, this sleek chilly film isn’t acted so much as posed.
    • 34 Metascore
    • 30 Stephen Holden
    A leaden, skimpily plotted space-age Outward Bound adventure with vague allegorical aspirations that remain entirely unrealized.
    • 46 Metascore
    • 30 Stephen Holden
    Proving once again that skillful performances can't create something out of almost nothing - the best they can do is make it palatable.
    • 43 Metascore
    • 30 Stephen Holden
    It is so vague, cliché-ridden and devoid of surprise and suspense that once you grasp its premise, watching it is like leafing through a design magazine kept in a refrigerator.
    • 42 Metascore
    • 30 Stephen Holden
    Breezing along on gusts of stale air and perky inanities, Two Weeks Notice is a romantic comedy so vague and sadly undernourished that it makes one of Nora Ephron's low-cal strawberry sodas seem as tempting as a Philip Barry feast.
    • 37 Metascore
    • 30 Stephen Holden
    A stultifying hybrid of athletic instruction film and Christian sermon.
    • 47 Metascore
    • 30 Stephen Holden
    Bland, unrevealing.
    • 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.
    • 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.
    • 52 Metascore
    • 30 Stephen Holden
    Its tepid satire of art world pretensions culminates with a visual dirty joke that is mildly amusing but still not worth the wait.
    • 24 Metascore
    • 30 Stephen Holden
    The movie equivalent of a box of Froot Loops followed by a half-gallon Pepsi chaser.
    • 56 Metascore
    • 30 Stephen Holden
    Soon after that the movie simply stops dead in its tracks, as though the money had run out and the project had been called off in the middle of a scene that makes no psychological or dramatic sense. It leaves you frustrated and annoyed.
    • 37 Metascore
    • 30 Stephen Holden
    Although there is the germ of a very sharp comedy in the intersection of real mobsters and make-believe thugs in a Hollywood mob comedy, Analyze That is far too lazy to do much with it.
    • 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.
    • 37 Metascore
    • 30 Stephen Holden
    In Ms. Mirren's first film to be directed by her husband, Taylor Hackford, since "White Nights" in 1985, her formidable dramatic resources can't camouflage flat writing that eventually veers into gloppy sentimentality. At times even Ms. Mirren, who adopts a regionless American accent, seems uncomfortable.
    • 52 Metascore
    • 30 Stephen Holden
    Rudderless, the misbegotten directorial debut of William H. Macy, is so dishonest, manipulative and ultimately infuriating that it never recovers after its bombshell revelation two-thirds of the way into the movie.
    • 29 Metascore
    • 30 Stephen Holden
    Rob Schneider runs an obstacle course of taste and emerges remarkably unsullied, considering the choices he faces.
    • 28 Metascore
    • 30 Stephen Holden
    Doesn't have a genuinely human moment.
    • 36 Metascore
    • 30 Stephen Holden
    The Son of No One self-destructs in a ludicrous, ineptly directed anticlimactic rooftop showdown in which bodies pile up, and nothing makes a shred of sense.
    • 30 Metascore
    • 30 Stephen Holden
    After barely stirring to life, Night Train to Lisbon mercifully expires.
    • 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.
    • 47 Metascore
    • 30 Stephen Holden
    Neither funny nor sexy, nor leavened by the wistful laissez-faire wisdom of the typical sophisticated Gallic comedy, it is less than a trifle.
    • 36 Metascore
    • 30 Stephen Holden
    In trying to be both bold and nonthreatening, the movie ends up seeming tame and mildly offensive.
    • 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.
    • 47 Metascore
    • 30 Stephen Holden
    The upbeat ending can't erase the lingering aura of being trapped in an insane asylum with the Manson family.
    • 36 Metascore
    • 30 Stephen Holden
    A thuddingly blunt contemporary morality tale devoid of wit and only minimally suspenseful.
    • 33 Metascore
    • 30 Stephen Holden
    A chilly machine-tooled comedy.
    • 34 Metascore
    • 30 Stephen Holden
    The weakest parts of Safe Haven are its action sequences, in which the illusion of reality is shattered by ham-handed editing, garish special effects and comic-book dialogue.
    • 48 Metascore
    • 30 Stephen Holden
    The novelty of hearing Ms. Bonham Carter spew four-letter words fades quickly. So does the sight of Mr. Branagh elaborately rehearsing how to rob a bank. This versatile actor has many strengths, but as his wooden turn in ''Celebrity'' has already demonstrated, comedy isn't one of them.
    • 50 Metascore
    • 30 Stephen Holden
    Trash is a shameless bid to recycle the mystique of “Slumdog Millionaire,” its likable, overrated prototype.
    • 48 Metascore
    • 30 Stephen Holden
    A tedious World War II epic that slogs across the screen like a forced march in quicksand.
    • 44 Metascore
    • 30 Stephen Holden
    The spectacle of two mature stars forced to grovel in the bathroom for cheap laughs is pathetic.
    • 40 Metascore
    • 30 Stephen Holden
    A supernatural thriller so mechanically inept and lacking in suspense that it doesn't even pass muster as lowbrow Halloween-ready entertainment.
    • 48 Metascore
    • 30 Stephen Holden
    The gay, independent comedy Adam & Steve is as crude and nonsensical as any number of B-list studio equivalents, with the added disadvantages of a low budget and shaky direction by Craig Chester, who wrote and also stars.
    • 49 Metascore
    • 30 Stephen Holden
    The suds that cascade through Tyler Perry’s The Family That Preys more than equal the cubic footage from nighttime soaps like "Dallas," "Dynasty" and their offspring.
    • 49 Metascore
    • 30 Stephen Holden
    Starbuck is up to its eyeballs in mush.
    • 37 Metascore
    • 30 Stephen Holden
    Written and directed by the husband-wife team of Kieran and Michele Mulroney, Paper Man is so unsure of itself that its symbolic edifice feels like a desperately erected defense system.
    • 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.
    • 39 Metascore
    • 30 Stephen Holden
    The body-swapping premise, which is stale to begin with, isn't explored with any depth, unless you find meaningful Freudian subtext in the movie's relentless anal fixation. But the premise at least sets up a farce that surpasses "The Hangover" in gleeful crudeness and profanity.
    • 30 Metascore
    • 30 Stephen Holden
    This is a movie that runs on magical thinking.
    • 41 Metascore
    • 30 Stephen Holden
    Quickly curdles into a nasty variation of the one-last-score genre.
    • 35 Metascore
    • 30 Stephen Holden
    A bleak, static mood piece about adolescent emptiness. There's little dialogue, and what there is offers the scantest information about Gerardo, who, as played by Mr. Ortuño, conveys an impenetrable blank-faced melancholy.
    • 45 Metascore
    • 30 Stephen Holden
    Under the direction of Andy Tennant, the Olsen sisters lay on the icky-poo cuteness with several trowels, often delivering their lines as though they were reciting the alphabet.
    • 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
    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.
    • 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.
    • 34 Metascore
    • 30 Stephen Holden
    The home-movie crudeness of Dead or Alive: Final indicates it was made on the cheap with minimal preparation.
    • 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.
    • 36 Metascore
    • 30 Stephen Holden
    This dull, dawdling film, adapted from Françoise Dorner’s novel “La Douceur Assassine,” eventually succumbs to sentimentality.
    • 30 Metascore
    • 30 Stephen Holden
    A lumpy three-and-a-half-hour glob of Civil War history.
    • 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.
    • 41 Metascore
    • 30 Stephen Holden
    All too soon, Machete Kills collapses into a deranged, directionless splatter comedy that exhausts its bag of tricks, many of them recycled from this grindhouse auteur’s 2010 spoof.
    • 33 Metascore
    • 30 Stephen Holden
    Comic mishap, whose satire already feels out of date.
    • 34 Metascore
    • 30 Stephen Holden
    The tone of Knife Fight is mean until the movie flips a switch and turns pious and mawkish as Paul tries to make amends for past sins. Whether playing it sleazy or noble, Mr. Lowe brings little emotional weight to his role.
    • 46 Metascore
    • 30 Stephen Holden
    A bubbling crockpot of farcical mush to warm the tummies of anyone who really and truly misses "The Brady Bunch," and I mean really and truly.
    • 19 Metascore
    • 30 Stephen Holden
    Even if it ends on a hopeful note, this is a feel-bad movie that leaves a bitter aftertaste.
    • 44 Metascore
    • 30 Stephen Holden
    Admirably high-minded and visually gorgeous but fatally anesthetized by its own grandiosity.
    • 34 Metascore
    • 30 Stephen Holden
    A scare movie about gambling addiction, is as grim and lurid as any in the recent spate of films about the evils of crystal meth.
    • 37 Metascore
    • 30 Stephen Holden
    Annapolis has enough material for an exciting trailer. But that's all the movie really is: a trailer tricked out with protracted boxing sequences and an undernourished romantic subplot that culminates in a single tepid kiss.
    • 50 Metascore
    • 30 Stephen Holden
    As flimsy and manipulative as the shallowest Hollywood fantasy.
    • 38 Metascore
    • 20 Stephen Holden
    Silly, heavy-handed film.
    • 21 Metascore
    • 20 Stephen Holden
    An empty, farcical blood bath that's virtually shock-free except for one preposterous plot twist.
    • 36 Metascore
    • 20 Stephen Holden
    The movie is so sloppily written and directed that its bits of bluster never cohere.
    • 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.
    • 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.
    • 39 Metascore
    • 20 Stephen Holden
    If National Treasure mattered at all, you might call it a national disgrace, but this piece of flotsam is so inconsequential that it amounts to little more than a piece of Hollywood accounting.
    • 64 Metascore
    • 20 Stephen Holden
    Because it unfolds like a garish hybrid of Simon Birch and What Dreams May Come, with some horror-movie touches thrown in to keep us from nodding off, "The Sixth Sense" appears to have been concocted at exactly the moment Hollywood was betting on supernatural schmaltz.
    • 53 Metascore
    • 20 Stephen Holden
    The Book Thief is a shameless piece of Oscar-seeking Holocaust kitsch.
    • 23 Metascore
    • 20 Stephen Holden
    Terminally scatterbrained gangster farce.
    • 34 Metascore
    • 20 Stephen Holden
    An awkward, long-winded mash-up of therapy session, horror movie and survival tale with pretensions of psychological depth.
    • 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.
    • 40 Metascore
    • 20 Stephen Holden
    In Good, the anemic screen adaptation of C. P. Taylor's play about a respectable "good German" who passively acquiesces to Hitler's agenda, Viggo Mortensen, miscast and ineptly directed by Vicente Amorim, plays John Halder, a liberal, mild-mannered literature professor who becomes a Nazi.
    • 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.)
    • 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.
    • 35 Metascore
    • 20 Stephen Holden
    An unsalvageable mess.
    • 45 Metascore
    • 20 Stephen Holden
    You see, this character, who is given no back story, is Life with a capital L. He is the Forneys' guardian angel who rouses them out of their funk. Given the movie's U-turn into allegory, maybe he's supposed to be a punk Jesus. Not even Mr. Gordon-Levitt's unremittingly savage performance can begin to salvage such hokum.
    • 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.
    • 43 Metascore
    • 20 Stephen Holden
    The story is a clever sitcomy contraption, the dialogue is pedestrian.
    • 56 Metascore
    • 20 Stephen Holden
    Bogus on every level, right down to its half-hearted trick ending.
    • 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.
    • 43 Metascore
    • 20 Stephen Holden
    Its narrative continuity is so sketchy and the screenplay so haphazard that the movie doesn’t add up to more than trash, seasoned with pretentious religiosity.
    • 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).
    • 46 Metascore
    • 20 Stephen Holden
    Plods along in its sloppy, joshing way, it tastes like pasta sauce that has sat on the shelf long after the expiration date on the can.
    • 38 Metascore
    • 20 Stephen Holden
    Corny, suds-drenched movie. The kindest way of looking at this roughly patched-together story is as the cinematic equivalent of the music it memorializes.
    • 31 Metascore
    • 20 Stephen Holden
    The spectacle of actors of the quality of Russell Crowe, Aaron Paul, Janet McTeer, Octavia Spencer and Jane Fonda earnestly struggling to wring eye moisture from hammy, flat-footed dialogue (credited to Brad Desch, an unknown), while maintaining some dignity, is depressing proof that an actor is only as good as his or her material.
    • 35 Metascore
    • 20 Stephen Holden
    Lullaby, the directorial debut of Andrew Levitas, a jack of all artistic trades, is the kind of manipulative, cliché-infested hokum that alienates moviegoers by its insistence on hogging all the tears.
    • 34 Metascore
    • 20 Stephen Holden
    A wooden police thriller that is as dull as it is impenetrable and ultimately beyond ludicrous.
    • 33 Metascore
    • 20 Stephen Holden
    Beyond the lugubrious pageantry, there is no sign of emotional or spiritual life in the film, only windy posturing.
    • 42 Metascore
    • 20 Stephen Holden
    Daddy’s Home is an ugly psychological cockfight posing as a family-friendly comedy. Laugh-free — except for some farcical, life-threatening stunts at the expense of Will Ferrell’s character, Brad — it is best avoided unless a movie that has the attitude and mind-set of a schoolyard bully happens to be your thing.
    • 54 Metascore
    • 20 Stephen Holden
    Because all of this looks blatantly unreal, and because the timing of the shock effects is so haphazard, Dead Alive isn't especially scary or repulsive. Nor is it very funny. Long before it's over, the half-hour-plus bloodbath that is the climax of the film has become an interminable bore. [12 Feb 1993, p.C16]
    • The New York Times
    • 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.
    • 22 Metascore
    • 20 Stephen Holden
    A catastrophe worth noting only for the presence of its name cast.
    • 20 Metascore
    • 20 Stephen Holden
    Less a movie than an essay.
    • 46 Metascore
    • 20 Stephen Holden
    What one word might best describe Payback? How about "loathsome"?
    • 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.
    • 41 Metascore
    • 20 Stephen Holden
    In this elongated, formula-ridden sitcom posing as a movie, the date-weary Manhattan singles exchanging acerbic banter suggest the tougher, far less intellectual offspring of Woody Allen characters drenched in a whiny Seinfeldian dyspepsia.
    • 42 Metascore
    • 20 Stephen Holden
    The film has no idea of how to develop its one-joke premise. The tepid love scenes are as erotically charged as a home movie of a little girl hugging her Barbie doll, and the satire as cutting as the blunt edge of a plastic butter knife.
    • 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.
    • 47 Metascore
    • 20 Stephen Holden
    A moth-eaten stranded-in-the-desert yarn that throws in every cheap trick in the manual to pump up your heartbeat, is so manipulative that the involuntary jolts of adrenaline it produces make you feel like a fool.
    • 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
    • 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.
    • 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.
    • 61 Metascore
    • 20 Stephen Holden
    The worst flaw of Willard is a clunky tone-deaf screenplay based on Gilbert Ralston's original and updated by the director. Barely a line flies by that doesn't land with a wooden thud.
    • 45 Metascore
    • 20 Stephen Holden
    It is no wonder that the insufferable romantic comedy Happythankyoumoreplease, set in New York, looks and sounds like a flop pilot for a television sitcom.
    • 51 Metascore
    • 20 Stephen Holden
    Can a feature-length movie be built on minutiae like jammed copying machines, unsent business letters and orientation programs for new employees? This innocuous wisp of a film, as weighty as a scrap of fax paper caught in an updraft, suggests that the answer is no.
    • 32 Metascore
    • 20 Stephen Holden
    You may view Untraceable, as I do, as a repugnant example of the voyeurism it pretends to condemn.
    • 19 Metascore
    • 20 Stephen Holden
    A rancid little nothing of a movie that baldly recycles plot elements of "There's Something About Mary."
    • 36 Metascore
    • 20 Stephen Holden
    As the movie methodically plods forward on a screenplay (by Shawn Slovo) consisting entirely of clichés and watered-down exposition, it becomes sadly apparent that its only reliable asset is the gorgeous view.
    • 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.
    • 52 Metascore
    • 20 Stephen Holden
    Short-circuits the novel's quirky charms and period atmosphere by its squeamish attitude toward gritty circus life and smothers the drama under James Newton Howard's insufferable wall-to-wall musical soup.
    • 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.
    • 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.
    • 37 Metascore
    • 20 Stephen Holden
    The movie is so devoid of emotion that its ritualized gore acts as a narcotic. Filmed in shades of red, with a minimal screenplay, Only God Forgives looks like a ghoulish fashion shoot in hell. Three words should suffice: pretentious macho nonsense.
    • 42 Metascore
    • 20 Stephen Holden
    The glum, episodic and unbelievable Arthur Newman is the film equivalent of a dysfunctional computer sloppily assembled from discarded parts of other machines.
    • 29 Metascore
    • 20 Stephen Holden
    Impenetrable mess of a movie.
    • 30 Metascore
    • 20 Stephen Holden
    As tightly plotted as a standard French farce.
    • tbd Metascore
    • 20 Stephen Holden
    Ultimately as sycophantic as it is needling.
    • 40 Metascore
    • 20 Stephen Holden
    Throughout Happy Hour, observations that mean next to nothing are presented as nuggets of profound enlightenment.
    • 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."
    • 34 Metascore
    • 20 Stephen Holden
    But after 15 minutes, this yellow-orange vision of spiraling circles of hell, snorting devils and demonic shapes continually morphing out of one another, begins to seem redundant and conceptually impoverished.
    • 25 Metascore
    • 20 Stephen Holden
    Ed
    One thing you can say for Ed, a chimpanzee whose baseball-playing expertise propels the Rockets, a minor-league team, to glory: his behavior is a lot more human than any of the other characters in this flimsy, laugh-free family comedy
    • 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.

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