Stephen Hunter
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For 914 reviews, this critic has graded:
  • 48% higher than the average critic
  • 1% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Stephen Hunter's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Out of Sight
Lowest review score: 0 Wet Hot American Summer
Score distribution:
914 movie reviews
    • 48 Metascore
    • 50 Stephen Hunter
    A movie carefully engineered for an audience of exactly nobody.
    • 58 Metascore
    • 50 Stephen Hunter
    A documentary on the F-word that manages to amuse superficially until it moves into its seventh hour, at which point it grows wearisome.
    • 59 Metascore
    • 50 Stephen Hunter
    A passionate film buff's valentine to the two directors he loves most: Alfred Hitchcock and Brian De Palma. The film that this worship has inspired is pretty amusing when the director apes Hitchcock, and pretty awful when he apes himself.
    • 62 Metascore
    • 50 Stephen Hunter
    Ocean's Thirteen is too complicated for its own mediocrity.
    • 59 Metascore
    • 50 Stephen Hunter
    The new Bond movie is pure nonsense art of the dadaist school; it follows the rules of the ridiculous as it turns narrative convention, thriller formula and special-effects set pieces into a manifesto of the purest gibberish.
    • 48 Metascore
    • 50 Stephen Hunter
    Initially an amiable sci-fi thriller that toys with the paradoxes inherent in time travel, it finally gets drunk on them. It becomes an incomprehensible stew of versions and revisions, until there's no there there and no then then.
    • 56 Metascore
    • 50 Stephen Hunter
    The movie isn't about anything except acting, and although the acting it shows is brilliant, it makes exactly the point that is the opposite of the point it thought it was making: Acting isn't enough.
    • 52 Metascore
    • 50 Stephen Hunter
    Handsome but stilted.
    • 65 Metascore
    • 50 Stephen Hunter
    The result is fascinating, if uneven and ultimately rather silly. Problems with the ending, so common these days, dog this visionary film as well.
    • 37 Metascore
    • 50 Stephen Hunter
    I can't recall the original, or even if I saw it or not. But this variation certainly makes its points effectively, in what must be a more superheated milieu.
    • 55 Metascore
    • 50 Stephen Hunter
    Hardly anything feels real, but what feels even more unreal is Hartnett with a cloying, sentimental, self-pitying performance. The liveliest thing in the film is the great Jackson, slumming again in a role miles beneath him.
    • 58 Metascore
    • 50 Stephen Hunter
    Miike's fans, those used to his strange ways, will certainly find Gozu an amusing addition to the oeuvre. All others will be bewildered beyond expression.
    • 55 Metascore
    • 50 Stephen Hunter
    You may or may not like what you see, but there it is, indisputably, right in your face.
    • 75 Metascore
    • 50 Stephen Hunter
    It's of an odd genre: a formally scripted (by Tony Grisoni) feature with a musical score that adheres totally to journalistic accuracy and willfully ignores formula, melodrama and uplift. It's a real down-lift.
    • 54 Metascore
    • 50 Stephen Hunter
    A work of either a profoundly transgressive genius or a goofball high on Pez and patio sealant. It could come from no normal collection of brain cells.
    • 61 Metascore
    • 50 Stephen Hunter
    Too simple for its own good.
    • 53 Metascore
    • 50 Stephen Hunter
    Most of the fault rests with the script, which gets to this issue late and feels only perfunctory, more interested in the jolt of the image than the jolt of the idea.
    • 66 Metascore
    • 50 Stephen Hunter
    Like the bad fight that ends the bad marriage: ugly, messy, loud, sometimes incoherent, but ultimately necessary. You're glad when either of them -- the marriage or the movie -- is over.
    • 45 Metascore
    • 50 Stephen Hunter
    In casbahs and desert villages, in kibbutzim and around the campfire, Spurlock has a way of getting people to open up, to use their real voices and express their real opinions, the likes of which never make it onto network news. That's his gift, and when he uses it, "Where in the World zzzzz-zzzz" opens up into a miraculous document.
    • 37 Metascore
    • 50 Stephen Hunter
    In Evan Almighty, Mr. God goes to Washington. Frank Capra, stop rolling in your grave. At least they cared enough to steal from the very best.
    • 63 Metascore
    • 50 Stephen Hunter
    Checks in somewhere between a delight and a diversion.
    • 27 Metascore
    • 50 Stephen Hunter
    It's meant to be harmless fluff. It is.
    • 64 Metascore
    • 50 Stephen Hunter
    Cradle Will Rock is left in mid-rock, as it were, its energy squandered, its sense of history confused, its sound and fury ultimately signifying nothing.
    • 56 Metascore
    • 50 Stephen Hunter
    It has great mood and a sense of the toughness of the London underworld, but it never really gets into gear.
    • 43 Metascore
    • 50 Stephen Hunter
    Firehouse Dog goes into the marginally watchable category, aimed as it is toward the middlebrow family trade, preferably dog owners with their own Sparky slopping up the station wagon windows.
    • 37 Metascore
    • 50 Stephen Hunter
    The movie is intermittently amusing, particularly when the American human part of the cast (Breckin Meyer and Jennifer Love Hewitt) are off-screen, the longer and farther the better.
    • 43 Metascore
    • 50 Stephen Hunter
    This is a modest documentary, actually made in 2002 but only now gaining national release, which celebrates Attucks and that particular team, but most important Coach Crowe, by all accounts a remarkable man.
    • 82 Metascore
    • 40 Stephen Hunter
    11 minutes longer than the original, and 11 minutes worse.
    • 81 Metascore
    • 40 Stephen Hunter
    Suffers from what might be called colonitis. It comprises too many equal parts, and they tangle each other up. Everything is important, which comes to mean that nothing is important.
    • 35 Metascore
    • 40 Stephen Hunter
    It's got a lot of small movies bouncing around inside it, but there's no big movie on the outside.
    • 54 Metascore
    • 40 Stephen Hunter
    So phony it makes your gums ache.
    • 51 Metascore
    • 40 Stephen Hunter
    The movie simply delivers too many colorfuls for its own good, none of whom establish a true emotional identity, and thus it isn't moving, it's busy. Busy, busy, busy.
    • 52 Metascore
    • 40 Stephen Hunter
    The Lake House has the sensibility of something conceived by Stephen King after an overdose of chocolate-covered cherries and valentine cards. In other words, it's sugary sweet and based on a premise that's just -- no other word will do -- ridiculous.
    • 75 Metascore
    • 40 Stephen Hunter
    One wishes the same wit and energy had gone into the story. That's Shrek 2 in a nutshell -- very pretty to look at, very hard to care for.
    • 38 Metascore
    • 40 Stephen Hunter
    The nicest thing is the Asian American actress known as Maggie Q.
    • 51 Metascore
    • 40 Stephen Hunter
    Ultimately the movie disintegrates due to its own clumsiness. It's far too coincidence-driven to be believable.
    • 62 Metascore
    • 40 Stephen Hunter
    None of the killings has any suspense, and the capital I irony -- that these people make their living selling death in small mechanical packages and munitions to the world and are now being hunted down by the same devices -- never begins to produce any results. Put it on a level with a mid-series "Halloween."
    • 22 Metascore
    • 40 Stephen Hunter
    [McGowan's] serene psychopathology is the movie's most consistent pleasure, and to see her is to both love and fear her.
    • 78 Metascore
    • 40 Stephen Hunter
    In this film, Nolan seems overwhelmed by the budget, the egos of the stars, the thinness of the script, and he doesn't impose much personality on the picture. It's all Pacino.
    • 46 Metascore
    • 40 Stephen Hunter
    It feels old, tired and given-up-on, maybe three drafts shy of minimal production level.
    • 38 Metascore
    • 40 Stephen Hunter
    A lot of it is low, crude, admittedly comic in the rudest positive sense, which involves a lot of falling down to humorous effect.
    • 65 Metascore
    • 40 Stephen Hunter
    It could hardly be called rip-roaring. I should report that it drives about a quarter of the audience out of the theater before it is half over. That's because it's slower than molasses in Siberia.
    • 50 Metascore
    • 40 Stephen Hunter
    Suffers from all the excesses of the genre: gunfights that go on and on and on, a plot that is almost incomprehensible.
    • 49 Metascore
    • 40 Stephen Hunter
    Here's the lowdown, the q.t., the true gen: The Black Dahlia is a big nowhere.
    • 48 Metascore
    • 40 Stephen Hunter
    Will this film do Kerry any good, or the Swifties any harm? My bet is: Not a bit, one way or the other.
    • 61 Metascore
    • 40 Stephen Hunter
    Certainly handsome, well made and for most of its running time gripping, the film ultimately turns into a $60-odd-million piffle.
    • 42 Metascore
    • 40 Stephen Hunter
    It can only be said that if you like this sort of thing, then this is the sort of thing you like.
    • 56 Metascore
    • 40 Stephen Hunter
    The occasional big moments are stunning, and kids from the ages of, say, 6 years to 6 years and 3 days will love it. Anyone younger will be scared; anyone older, bored.
    • 71 Metascore
    • 40 Stephen Hunter
    Too bad the plot held no surprises and the acting no revelations. No actor could be said to stand out and the movie never acquires much tension or momentum.
    • 57 Metascore
    • 40 Stephen Hunter
    Like too many Thanksgiving dinners, too much squabbling really wreaks havoc on the digestion. Football, anyone?
    • 38 Metascore
    • 40 Stephen Hunter
    Though I don't think giving it a cuddly human personality and the vocals of Rachel Weisz helps much, the thing itself, part dog, part fish, part weasel, part dinosaur, is a terrific illusion, and the technical team manages to really sell the idea of flight. Too bad the acting is so lame, the story so derivative and the thing so long.
    • 33 Metascore
    • 40 Stephen Hunter
    A movie so bewildering and impenetrable that I believe it siphoned off a good 40 IQ points.
    • 47 Metascore
    • 40 Stephen Hunter
    By the time it winds down, U.S. Marshals has all but destroyed itself. It's gone pffft! in the night.
    • 35 Metascore
    • 40 Stephen Hunter
    The movie streamlines much of Harris's book. It's a shame, because it results in the movie's fundamental flaw -- the one-dimensionality of Hannibal.
    • 69 Metascore
    • 40 Stephen Hunter
    Yet as sophisticated a piece of filmmaking as it is, it seems hamstrung by the banality at its center; that's why it never assembles into a satisfying whole. It's pretty -- oh, what's the word? -- stupid in its dramatization of the silly little connections that unite us, and it's somewhat selective in its choice of them.
    • 27 Metascore
    • 40 Stephen Hunter
    The movie never rises to the level of the professional, much less the comic. The gags are witless and surprisingly gross. The four actors, each accustomed to being at the center, never develop any rhythm, any chemistry, any anything.
    • 26 Metascore
    • 40 Stephen Hunter
    The effects are murky and the giant worm looks more like a smear on the lens than anything else. Most of the intensity is generated by sudden sound effects like ringing phones, alarm clocks or oven timers.
    • 73 Metascore
    • 40 Stephen Hunter
    The sad truth is that Wonder Boys is little more than a sentimentalized encomium to the disheveled, childish life it ascribes to writers.
    • 53 Metascore
    • 40 Stephen Hunter
    Ultimately, The Guardian veers off into slobbery touchy-feeliness, and the tone becomes mock-religious, almost liturgical.
    • 58 Metascore
    • 40 Stephen Hunter
    Offers just about a kill a minute, but less than a thrill a minute.
    • 40 Metascore
    • 40 Stephen Hunter
    Tasteless and without redeeming social value, and also dank with the stench of decomposition masked by not enough formaldehyde, Nightwatch is the best kind of movie pleasure, a completely guilty one. [17 Apr 1998]
    • Washington Post
    • 53 Metascore
    • 40 Stephen Hunter
    The movie is full of invasions, assassination attempts, chases and escapes in seemingly random order, the result being completely chaotic.
    • 68 Metascore
    • 40 Stephen Hunter
    Afterglow is a lazy river of a movie that chooses beauty over sense and rhythm over reason. It goes nowhere slowly. [16Jan1998 Pg B.06]
    • Washington Post
    • 34 Metascore
    • 40 Stephen Hunter
    Too busy trying to make remarks to be much fun in the end. But it really only has one remark, which it reiterates about a thousand times, and it's not all that remarkable: Fame is overrated.
    • 70 Metascore
    • 40 Stephen Hunter
    The performances are so monotonic that you understand depicting authentic humanity is not the writer-director's goal: Each character has been reduced to a single unpleasant primal trait from which deviation is not permitted.
    • 77 Metascore
    • 40 Stephen Hunter
    Though 45 minutes longer than the original release, still feels thinner, less complex, more mythic and far less compelling.
    • 40 Metascore
    • 40 Stephen Hunter
    Riveting in its low way. It traffics in imagery profoundly disturbing.
    • 73 Metascore
    • 40 Stephen Hunter
    I had some trouble with the plot, but I'm not the only one -- so did the screenwriter.
    • 39 Metascore
    • 40 Stephen Hunter
    A magical child movie in which the child is magical, yes, but the movie is not.
    • 77 Metascore
    • 40 Stephen Hunter
    Kind of like watching a John Waters film on fast forward with all the good parts cut out. It's empty of charm and meaning, but it certainly kills time, for those who wish it dead.
    • 60 Metascore
    • 40 Stephen Hunter
    Despite its brilliant evocation of this great city at this most provocative time in history, the movie just gets sillier and sillier.
    • 46 Metascore
    • 40 Stephen Hunter
    What's funny to Broken Lizard? Let's try: What's not funny? The answers are, everything and nothing. They'll do anything for a laugh, no matter how puerile, silly or offensive.
    • 49 Metascore
    • 40 Stephen Hunter
    The French now proudly prove they can make a big stupid violent cop movie, just like our gifted Hollywood professionals.
    • 45 Metascore
    • 40 Stephen Hunter
    You may have as much fun tearing it apart in its aftermath as you do watching it, but the fun is still genuine.
    • 45 Metascore
    • 40 Stephen Hunter
    It's a movie of great dynamism and energy, but very little discipline. It probes issues but it never really thinks about them. It seems smart, but it's dumb.
    • 49 Metascore
    • 40 Stephen Hunter
    Loud, stupid, unrealistic, overdone, without a thought in its ugly little head and kind of enjoyable.
    • 20 Metascore
    • 40 Stephen Hunter
    It's still got some panache.
    • 49 Metascore
    • 40 Stephen Hunter
    It is one of those soap bubbles of a film, fleeting, ephemeral, seemingly there when it is not. As you leave the theater, it diminishes with each step, collapsing into shards of imagery and sensations of movement. It's the film that never was.
    • 37 Metascore
    • 40 Stephen Hunter
    It's kind of -- hmmmm, less than good, a little better than not bad, almost all right, mediocre without being grating, sort of in the C-minus-to-C-minus-minus range.
    • 36 Metascore
    • 40 Stephen Hunter
    The Jackal is based on a fabrication so absurd that it almost made me laugh out loud.
    • 46 Metascore
    • 40 Stephen Hunter
    More than predictable. It plods along with the inevitability of a doomed soldier going off to war.
    • 36 Metascore
    • 40 Stephen Hunter
    In an era of careful cost accountancy and focus-group testing, it's remarkable that a movie as truly, deeply, madly foolish as The Wicker Man escaped the asylum. But we must be grateful for the endless guffaws and gasps and outright stunned silences it unleashes on lucky audiences.
    • 70 Metascore
    • 40 Stephen Hunter
    If the movie is meant to uncover any "big scandals," it's a disappointment. The investigator, in one surprising sequence, goes through a number of alleged "torture" photos and acknowledges that the vast majority of them represent "standard operating procedure." That is supposed to be the film's kicker: not what was illegal but how much was legal.
    • 65 Metascore
    • 40 Stephen Hunter
    Haggis also appears to have no respect for his audience. At its crudest, the film settles for agitprop...it's no Hollywood guy's call, particularly as he's extrapolating from a single case that could have occurred anywhere, at any time.
    • 37 Metascore
    • 30 Stephen Hunter
    The only impressive thing about it is the monotony and thoroughness with which it replicates cliches from older, better movies and hammers them into pop alloy to an up-with-me beat beat beat of its musical score.
    • 51 Metascore
    • 30 Stephen Hunter
    Put another movie on the barbie, mate; maybe it'll be better.
    • 63 Metascore
    • 30 Stephen Hunter
    The director, Patricia Rozema, has a rare talent: She gets third-rate performances out of first-rate performers with almost startling efficiency. All are bland, some hardly exist at all, and as performance, the whole thing seems a waste.
    • 55 Metascore
    • 30 Stephen Hunter
    There's some cool sword-fighting. But still, it's junk.
    • 48 Metascore
    • 30 Stephen Hunter
    So rancid is Brooks's fury that it's clouded his judgment, so that each of his main characters is a stereotype of the most broad-brush, malodorous nature.
    • 41 Metascore
    • 30 Stephen Hunter
    The cast is too good for the script and the script is too good for the director and the director is too good for the horny dog jokes.
    • 35 Metascore
    • 30 Stephen Hunter
    The movie is very loud. It is pointlessly loud, arbitrarily loud, assaultively loud.
    • 66 Metascore
    • 30 Stephen Hunter
    It's a movie with the exciting parts cut out.
    • 42 Metascore
    • 30 Stephen Hunter
    Perhaps as a publishing phenomenon the concept works, but on-screen it's pretty dull, with good actors in bad roles and bad special effects.
    • 31 Metascore
    • 30 Stephen Hunter
    So tame and limp, it may actually give mothers-in-law a good name.
    • 42 Metascore
    • 30 Stephen Hunter
    Vaughn's con-man jive doesn't get much play in this one; he spends most of his time as a bitter creep, and the writing (by Dan Fogelman) isn't sharp enough to make the hipster-at-the-North-Pole theme pay off in any meaningful way.
    • 44 Metascore
    • 30 Stephen Hunter
    Directed by Vincent ("A Map of the Human Heart") Ward, who is either a genius or a crackpot, and derived from a long-ago novel by Richard Matheson, the film is overproduced and underpopulated, with either characters or ideas.
    • 64 Metascore
    • 30 Stephen Hunter
    The movie is so disturbing that it seems nearly blasphemous. I wouldn't wish it on an anthrax spore. After all, anthrax has feelings, too.
    • 52 Metascore
    • 30 Stephen Hunter
    You can't make an epic about a mouse.
    • 26 Metascore
    • 30 Stephen Hunter
    Where is the suspense part? There is no suspense part. Suspense demands clarity of motive and action, and this screenplay never provides it.
    • 55 Metascore
    • 30 Stephen Hunter
    the movie comes on as a novelty item, meaning it's so full of disparate parts and so unable to approach coherence, it just sits there and burns out.
    • 67 Metascore
    • 30 Stephen Hunter
    It's too bloody to be funny and too silly to be dramatic and too self-indulgent to be anything other than what it is, one more bad movie.
    • 45 Metascore
    • 30 Stephen Hunter
    The movie, as its title suggests, means to be one of those Tarantino-esque in-your-face jobs, amusing on the audacity of its outrageousness. Here's how "outrageous" it is: Zzzzzz-zzzz.
    • 49 Metascore
    • 30 Stephen Hunter
    It's part travelogue in Hell, part ineffectual weepie.
    • 71 Metascore
    • 30 Stephen Hunter
    The new Dutch film Black Book manages to turn World War II into a large piece of cheese. A lurid, pulpy, slightly perverse potboiler, the movie suffers mainly from its utter lack of seriousness.
    • 35 Metascore
    • 30 Stephen Hunter
    I'll tell you what's gone in 60 seconds, all right: my attention.
    • 33 Metascore
    • 30 Stephen Hunter
    There's nothing wrong with Uptown Girls that not seeing it won't fix.
    • 64 Metascore
    • 30 Stephen Hunter
    Elf
    The first and possibly the last Will Ferrell star vehicle. It's a clumsy, tedious ride that wears out its welcome as it wears out the seat of your pants and the circulation in your lower limbs.
    • 54 Metascore
    • 30 Stephen Hunter
    In the end, Gerry is beyond the simple question of pleasure. Seeing it may be no fun at all, but then discomfort is part of the price one pays in learning.
    • 53 Metascore
    • 30 Stephen Hunter
    Instead of gold-medal-winning, last-minute heroics, the movie weirdly becomes about the scandal of arbitrary gymnastics judges. Is it a movie or an episode of "Real Sports"? It veers into fresh territory but not dramatically satisfying territory.
    • 72 Metascore
    • 30 Stephen Hunter
    As long as it stayed mainstream dirty it was okay, but when it got into perversions the American Psychiatric Society hasn't even named yet, it left me behind.
    • 64 Metascore
    • 30 Stephen Hunter
    Friends, Washingtonians, countrymen, I come not to praise Gladiator but to bury it.
    • 28 Metascore
    • 30 Stephen Hunter
    I literally did not count a single laugh in the whole aimless schlep, except for the hucksters who made it, on their way to the bank.
    • 63 Metascore
    • 30 Stephen Hunter
    It seems such a waste to go onto the actual streets of Lower Manhattan and shoot a movie this stupid. Think of the money, the logistics, the interruptions in the city's life -- all that trouble for what? For this? For shame.
    • 31 Metascore
    • 30 Stephen Hunter
    Just another thriller, utterly disposable.
    • 34 Metascore
    • 30 Stephen Hunter
    It's like a summer stock "Who's Afraid of Virginia Woolf," with the proviso that occasionally a giant snaggle-tooth monster slobbers onstage and eats George or Martha.
    • 48 Metascore
    • 30 Stephen Hunter
    It continually crashes and burns on its own banality.
    • 51 Metascore
    • 30 Stephen Hunter
    It's not really a movie. I suppose it's what could be called a recorded behavior.
    • 51 Metascore
    • 30 Stephen Hunter
    Between bad hair and tonal irregularity, the movie doesn't give you much to like.
    • 38 Metascore
    • 30 Stephen Hunter
    You are likely to encounter more surprises on the way to the bathroom each morning than you do in this film.
    • 42 Metascore
    • 30 Stephen Hunter
    For the most part, Daredevil doesn't take a single dare; it travels the road much trod, even if it's through the midtown air.
    • 57 Metascore
    • 30 Stephen Hunter
    All in all, it's like a bachelor's apartment: a complete mess.
    • 37 Metascore
    • 30 Stephen Hunter
    Now and then sputters to comic life but more usually wheezes along.
    • 28 Metascore
    • 30 Stephen Hunter
    A vicious anti-Catholic diatribe disguised as an audition tape for MTV.
    • 44 Metascore
    • 30 Stephen Hunter
    Illustrates the law of returning diminishments.
    • 74 Metascore
    • 30 Stephen Hunter
    It orders you to love it. It demands love, which is the best way not to get it.
    • 48 Metascore
    • 30 Stephen Hunter
    The movie, directed (and written) by Zach Helm in grotesquely bright colors, means to approach the creepy wonder of Roald Dahl but gets only the creepy part right.
    • 62 Metascore
    • 30 Stephen Hunter
    The comedy is strained to the point of lameness, most of it exaggerated clumsiness, stupidity or inappropriateness.
    • 37 Metascore
    • 30 Stephen Hunter
    Let's blame it on poor Robin Williams, who tries so desperately to be likable, whimsical, lovable, smart and funny all at once that he just wears you out. Blame it also on the behind-the-scenes engineers at Disney who think that effects are more important than story and character.
    • 49 Metascore
    • 30 Stephen Hunter
    The movie falls from grace to clunkiness and continues its herky-jerky, way-unfunny trek around the amusement park. Who needs it?
    • 17 Metascore
    • 30 Stephen Hunter
    Not merely Pacino's over-mannered, near-histrionic performance, but the movie itself could be characterized as busy, busy, busy. It's so full of plot twists and revelations and exploding sports cars that its very perkiness comes to seem comic.
    • 40 Metascore
    • 30 Stephen Hunter
    It never makes much sense.
    • 73 Metascore
    • 30 Stephen Hunter
    This is another unhelpful screed, uncontaminated by sense or perspective, that preaches loudly to the choir.
    • 34 Metascore
    • 30 Stephen Hunter
    He still sees dead people, only now they're the best thing in the movie.
    • 68 Metascore
    • 30 Stephen Hunter
    A few minutes of inspired lunacy aside, The Yes Men is largely a case of the same old preachers preaching to the same old choir.
    • 54 Metascore
    • 30 Stephen Hunter
    Give Woody Allen credit for ambition. Failing at one movie wasn't enough. Nearly anyone can do that; it happens all the time. He's chosen to fail at two simultaneously.
    • 55 Metascore
    • 30 Stephen Hunter
    It's such a great story, you have to ask two questions: Why didn't they make this movie before? And why did they make it this way?
    • 63 Metascore
    • 30 Stephen Hunter
    Big, dull and empty -- nobody associated with this production appears to have thought hard about storytelling.
    • 64 Metascore
    • 30 Stephen Hunter
    Meant to be a sleek, dark, disturbing David Cronenberg-style thriller, Olivier Assayas's film is just an annoying concoction.
    • 43 Metascore
    • 30 Stephen Hunter
    There's not enough story in it to fill a shoebox.
    • 52 Metascore
    • 30 Stephen Hunter
    It's pretty appalling, and it's boring.
    • 63 Metascore
    • 30 Stephen Hunter
    It grinds on and on without mercy. You're in the cross hairs. There is no escape. Where is that Secret Service when you need it?
    • 31 Metascore
    • 30 Stephen Hunter
    It never makes you laugh that hard. Not even close. And so the thing becomes a bloody assault on the senses that commingles atrocity with tedium.
    • 58 Metascore
    • 30 Stephen Hunter
    Big Fish stinks from the head.
    • 49 Metascore
    • 30 Stephen Hunter
    The problem is that director Peter Berg, aided and abetted by Smith and Theron and third banana Jason Bateman, seem to have made it literally, not realizing its out-of-whack tonalities and grotesque plot twists were meant to be played for laughs.
    • 47 Metascore
    • 30 Stephen Hunter
    Utterly shatters the illusion with a trite plot, banal dialogue, clunky sentimentality and, worst of all, a sort of narrative arbitrariness.
    • 48 Metascore
    • 30 Stephen Hunter
    Never manages to make its characters anything other than cartoons.
    • 34 Metascore
    • 30 Stephen Hunter
    This feels like a cramped, TV-style retelling, with small groups of people, no special effects, in some ways almost cheesy.
    • 62 Metascore
    • 30 Stephen Hunter
    A whodunit so bafflingly constructed that you can't even figure out what it is, so the whodun part is superfluous.
    • 39 Metascore
    • 30 Stephen Hunter
    Like every other second of more than 10,000 seconds in Alexander, it doesn't engage in the least.
    • 38 Metascore
    • 30 Stephen Hunter
    The movie is loud, dark, bumpy and not even a little fun. You emerge into daylight bruised and battered, suffering a case of movie abuse.
    • 33 Metascore
    • 30 Stephen Hunter
    The story the film tells ruins the movie.
    • 45 Metascore
    • 30 Stephen Hunter
    Ultimately undone by its sheer busyness. The screenwriters never get the story to settle down, and it becomes a case of one damn thing after another.
    • 51 Metascore
    • 30 Stephen Hunter
    Duvall is a great actor in the homestretch of a great career; it's hard to hold this trifle against him, and certainly nobody will.
    • 19 Metascore
    • 30 Stephen Hunter
    Everything in it is a cliche including the end.
    • 68 Metascore
    • 30 Stephen Hunter
    Of the many comic book superhero movies, this is by far the lamest, the loudest, the longest. Good Lord, what an epic sit. My rear end deserves a medal...I wish I could say it wasn't so, but for most of us, this "X" marks a splat.
    • 43 Metascore
    • 30 Stephen Hunter
    The baseball half of the story just slightly works. ... Nothing in [the other] half of the film works.
    • 56 Metascore
    • 30 Stephen Hunter
    There are many ways to define the shrieking awfulness of The Family Stone, from the general lack of wit to the cheap exploitation of cancer to its casual cruelty, but it's writer-director Thomas Bezucha's casting that really goes awry.
    • 54 Metascore
    • 30 Stephen Hunter
    A nasty bit of counter-programming, Wolf Creek is for people sickened by the sentimental excesses of the day and the holiday season and want to hide from them in mayhem, slaughter, torture and degradation.
    • 54 Metascore
    • 30 Stephen Hunter
    The film has no discipline, but that's okay because it has no suspense, either.
    • 48 Metascore
    • 30 Stephen Hunter
    This gives nobody, least of all me, any pleasure, but a truth must be faced: Scoop is the worst movie Woody Allen has ever made.
    • 64 Metascore
    • 30 Stephen Hunter
    Like so many technological marvels, at the human level it's not only merely dead, it's really most sincerely dead.
    • 64 Metascore
    • 30 Stephen Hunter
    The movie, alas, is shackled somewhat by Waugh's original, pedestrian plot, which is too full of discrete incidents and slow to form an overarching story.
    • 47 Metascore
    • 30 Stephen Hunter
    The movie's fundamental problem is that Cusack's character isn't very interesting.
    • 51 Metascore
    • 30 Stephen Hunter
    What Kalin fails to provide in the slightest degree is energy. The movie just sloshes along in a heavy, slightly overdone way.
    • 55 Metascore
    • 30 Stephen Hunter
    It just never began to work for me, and the sub story behind the ghost story is far more interesting than the ghost story in front of the sub story.
    • 84 Metascore
    • 30 Stephen Hunter
    The movie has the sense of being embalmed, or pickled. With its stilted dialogue not quite kitschy enough to be funny and not quite authentic enough to be realistic, the whole movie feels as if it's taking place in formaldehyde.
    • 56 Metascore
    • 30 Stephen Hunter
    Max
    Mad Max just sails off into nonsense.
    • 66 Metascore
    • 30 Stephen Hunter
    The movie never transcended its elaborate production work to achieve an independent reality.
    • 39 Metascore
    • 30 Stephen Hunter
    It's just silly, loud and goofy. The dragon needed a bigger part and the two stars smaller ones.
    • 55 Metascore
    • 30 Stephen Hunter
    Hanks is great; the movie isn't.
    • 49 Metascore
    • 30 Stephen Hunter
    Each plot twist trumps its predecessor into ludicrousness.
    • 34 Metascore
    • 30 Stephen Hunter
    They made a movie without one basic ingredient: the story.
    • 48 Metascore
    • 30 Stephen Hunter
    Fast and furious, shallow, empty, casually racist, merry, jaunty, silly and utterly weightless.
    • 52 Metascore
    • 30 Stephen Hunter
    It's like a music video of Helen Reddy's "I Am Woman" filmed in the Chevy Chase Pottery Barn.
    • 51 Metascore
    • 30 Stephen Hunter
    300
    It's kind of a ghastly hoot, and while I suppose it does no harm, it also contributes nothing. It's a guilty unpleasantness.
    • 38 Metascore
    • 30 Stephen Hunter
    Thankfully, after its terrific start, Don't Say a Word transmogrifies so totally into Hollywood hooey that it's actually a relief. I'd hate to see a disturbance in the karmic perfection of Douglas's pitch-pure mediocrity.
    • 51 Metascore
    • 30 Stephen Hunter
    An ordeal for all save the most ardent Treksters.
    • 43 Metascore
    • 30 Stephen Hunter
    Palmetto, directed by the German genius Schlondorff, who memorably brought "The Tin Drum" to the screen, somehow never quite finds the right line through the materials.
    • 80 Metascore
    • 30 Stephen Hunter
    The movie made almost no sense whatever to me. I literally could not follow it, even as I was dazzled by it.
    • 45 Metascore
    • 30 Stephen Hunter
    Hoodwinked makes a little sense. Too bad, then, it's so crummy.
    • 36 Metascore
    • 30 Stephen Hunter
    Tries so hard to be cool that it forgets to be alive.
    • 47 Metascore
    • 30 Stephen Hunter
    What a waste of talent, time and money. And guess what else? Not only is The Legend of Zorro stupid and boring but -- ta-da! -- it's also really long!
    • 63 Metascore
    • 30 Stephen Hunter
    In the end, Unfaithful leaves you dispirited and grumpy: All that money spent, all that talent wasted, all that time gone forever, and for what? It's an ill movie that bloweth no man to good.
    • 43 Metascore
    • 30 Stephen Hunter
    Relentlessly beautiful and wholly annoying.
    • 37 Metascore
    • 30 Stephen Hunter
    Stuck in that no man's land between comedy and banal movie mob action, and it delivers on neither of these impulses with any force.
    • 53 Metascore
    • 30 Stephen Hunter
    The movie's signal flaw -- that is, other than its degeneracy, its sloppiness, its love of dark things and pretty stains and arterial spray patterns -- is Moseley as the demonic Otis.
    • 31 Metascore
    • 30 Stephen Hunter
    Wes Craven, who started the "Nightmare on Elm Street" series, should know a lot better.
    • 47 Metascore
    • 30 Stephen Hunter
    The film is a soggy mess, essentially a loud, wild 100-minute battle movie bookended by an incomprehensible beginning and a laughable ending.
    • 57 Metascore
    • 30 Stephen Hunter
    Michael Winterbottom's Code 46 commits a Code 1 violation: It's boring.
    • 45 Metascore
    • 30 Stephen Hunter
    I found it a rough night at the flickers.
    • 63 Metascore
    • 30 Stephen Hunter
    Del Toro will probably get an Oscar nod for his Jerry, because the film is so full of Oscar moments, including a cold-turkey detox bit. He rumbles and shivers and screeches and bangs his head on the wall and takes a shower in his clothes. I never believed a second of it.
    • 68 Metascore
    • 30 Stephen Hunter
    Crazy? Crazy is too mild a word by far to describe the twisted worm at play inside the skull of the Canadian director David Cronenberg -- And that craziness is given full vent in the vomitorium called eXistenZ.
    • 46 Metascore
    • 30 Stephen Hunter
    So programmatic, so dogged in hitting the right steps at the right time that it completely lacks spontaneity.
    • 30 Metascore
    • 30 Stephen Hunter
    Manages to make sex look like no fun at all.
    • 42 Metascore
    • 30 Stephen Hunter
    None of it appears to be well thought out, or thought through, and it's consequently never remotely believable.
    • 27 Metascore
    • 30 Stephen Hunter
    It's zany. Actually, it's so zany it's almost creepy.
    • 36 Metascore
    • 30 Stephen Hunter
    The movie's chief crime against the planet, other than the sheer wastage of time, is the trivializing of the great Freeman. This actor has such dignity and depth and humanity, he almost makes the film watchable.
    • 51 Metascore
    • 30 Stephen Hunter
    The movie itself may be a species of Montezuma's revenge.
    • 56 Metascore
    • 30 Stephen Hunter
    It's just a loud, derivative grade-Z horror film of no particular distinction.
    • 21 Metascore
    • 30 Stephen Hunter
    More in the dumb and dumber tradition of "Halloween" and "Friday the 13th" sequels.
    • 37 Metascore
    • 20 Stephen Hunter
    Folks, I really feel that seeing this one for you is the movie critic's equivalent of jumping on the grenade to save your lives. Send me medals.
    • 47 Metascore
    • 20 Stephen Hunter
    I like watching snakes eat mice just as much as the next fella, maybe even more, but The Strangers turns the gobble-'em-up into an ordeal. It's a fraud from start to finish.
    • 46 Metascore
    • 20 Stephen Hunter
    The film is one of those accursed self-styled "outrageous" comedies that play the horrific for broad laughs, with a comically inflated style of dialogue that's so hip one doubts it could have been conceived before 1997, much less 1847.
    • 68 Metascore
    • 20 Stephen Hunter
    In the end the movie goes nowhere a hundred movies haven't already been and tells us nothing we don't already know. It does so with so much violent energy, however, it's like four brutal years at film school crammed into an hour and a half.
    • 51 Metascore
    • 20 Stephen Hunter
    Gilliam does two things well: mud and trees.
    • 48 Metascore
    • 20 Stephen Hunter
    The movie is fussy and organized rather than moving. It follows a pattern so precisely, it's as if Lahti thought points would be taken off if she colored outside the lines.
    • 29 Metascore
    • 20 Stephen Hunter
    Makes "Conan the Barbarian" seem like Dostoyevsky in its complexity.
    • 58 Metascore
    • 20 Stephen Hunter
    About halfway through you'll get an incredible hunger to see a movie.
    • 45 Metascore
    • 20 Stephen Hunter
    A coarse, witless and stunningly violent black comedy.
    • 52 Metascore
    • 20 Stephen Hunter
    How do I hate thee? Let me count the ways.
    • 34 Metascore
    • 20 Stephen Hunter
    Thr3e needs help with more than spelling.
    • 38 Metascore
    • 20 Stephen Hunter
    It's a kind of "Miami Vice" with many more carz and numberz where all the adjectives used 2 go.
    • 37 Metascore
    • 20 Stephen Hunter
    The most persistent question asked at When Do We Eat? will probably be "When do we leave?" This abrasive Passover comedy-drama is extremely difficult to sit through, and if its makers weren't all Jewish, it would be considered anti-Semitic.
    • 49 Metascore
    • 20 Stephen Hunter
    It's just gunfights strung together, without a whisper of coherence or meaning. The fights are staged so that they all look the same, and the principle is always the same: The gunman's multiple antagonists never hit, and he never misses. John Woo at least had fun with this sort of thing 20 years ago. And Giamatti? What the heck is he doing here?
    • 47 Metascore
    • 20 Stephen Hunter
    Here, by its cooperation with the Disney factory, NASCAR says it's also warm 'n' cuddly, and that if you love your magic bug, it'll repay you with victory. Why does it allow itself to be co-opted by a story that diminishes the skills, experience and talent it takes to win?
    • 43 Metascore
    • 20 Stephen Hunter
    Overblown, overheated, overdirected, overacted, overlong.
    • 40 Metascore
    • 20 Stephen Hunter
    Beginning with an intriguing premise, which it manages to squander in record time, it turns out to be a thinly imagined, thinly acted, silly exercise in car crashes, chases and nasty outbursts of generic violence.
    • 37 Metascore
    • 20 Stephen Hunter
    So primitive, it must have been written in lizard blood on animal skin.
    • 37 Metascore
    • 20 Stephen Hunter
    Here's a film that so merrily thumbs its nose at propriety in exchange for visceral thrills, and at probability in exchange for the really cool plot twist, that it checks in as the guiltiest pleasure since "The 13th Warrior."
    • 25 Metascore
    • 20 Stephen Hunter
    Some stories are eternal. They will not go away. They are told and retold for generations. Take the story of Jesse James --it is not one of them.
    • 30 Metascore
    • 20 Stephen Hunter
    This movie, written in crayon by James Kearns, is too dumb to come up with a way of defeating the system by using its own rules.
    • 29 Metascore
    • 20 Stephen Hunter
    At least it cares enough to steal from the very best. Unfortunately, that's about all it cares about.
    • 46 Metascore
    • 20 Stephen Hunter
    It goes so far -- way too far -- as having a known actor play Grant.
    • 60 Metascore
    • 20 Stephen Hunter
    An Upper West Sidey exercise in narcissism and self-congratulation disguised as a tribute.
    • 46 Metascore
    • 20 Stephen Hunter
    We're supposed to adore Gibson's sang-froid and his toughness, but everything, a few good lines aside, is so witless and monotonous it becomes numbing.
    • 27 Metascore
    • 20 Stephen Hunter
    Baby, when you walk out of a movie thinking, "Say, that Heather Locklear was pretty darn good," the movie's got some problems!
    • 45 Metascore
    • 20 Stephen Hunter
    A devastatingly dishonest, tough look at teenage life.
    • 41 Metascore
    • 20 Stephen Hunter
    Sahara is a mediocrity wrapped inside a banality, toasted in a nice, fresh cliche.
    • 37 Metascore
    • 20 Stephen Hunter
    When a burning rat is the funniest thing in your movie, I think you're in big trouble, even in Miami.
    • 50 Metascore
    • 20 Stephen Hunter
    Poor Roberts, pretty and perky as the day is long, hasn't a hoot in hell of bringing Julianne off. She's simply not actress enough, she doesn't have that suppleness that would enable her to sell the complexity of emotion, the jealousy, the irrationality, the meanness and the intelligence.
    • 35 Metascore
    • 20 Stephen Hunter
    Nothing is real, but at the same time, nothing is fake. Nothing is, period. You don't believe a second of it for a second, so banal and predictable is it.
    • 25 Metascore
    • 20 Stephen Hunter
    Here's the best thing about Stealing Harvard: A dog bites Green in the crotch for a really long time. Priceless.
    • 25 Metascore
    • 20 Stephen Hunter
    Hatched by screenwriters watching "The Sixth Sense" on methamphetamines
    • 33 Metascore
    • 20 Stephen Hunter
    So loud, so long, so dumb.
    • 33 Metascore
    • 20 Stephen Hunter
    The film has about seven minutes of good material, mostly provided by John Cleese.
    • 38 Metascore
    • 20 Stephen Hunter
    A rambling wreck from computer tech and a helluva souvenir –- that is, for those interested in artifacts representing the American movie at its worst.
    • 38 Metascore
    • 20 Stephen Hunter
    The true crime is the eight bucks the filmmakers want to steal from you. Best advice: Don't let them get away with it.
    • 62 Metascore
    • 20 Stephen Hunter
    A piece of pulp claptrap; it has no insights whatsoever into totalitarian psychology and always settles for the cheesiest kinds of demagoguery and harangue as its emblems of evil. They say they want a revolution? Then give us a revolution, one that's believable, frightening, heroic, coherent and not a teenagers' freaky power trip.
    • 49 Metascore
    • 20 Stephen Hunter
    It's a simpering, ineffective ersatz-drama, so simple-minded and unrealistic and so full of fussy stupidity, it exiles you.
    • 16 Metascore
    • 20 Stephen Hunter
    It's a loose reassembly of plot points from "Rosemary's Baby" and "The Exorcist" that never achieves the emotional intensity of either.
    • 27 Metascore
    • 20 Stephen Hunter
    I liked Coyote Ugly better when it was called "Flashdance," although I didn't like it very much then.
    • 49 Metascore
    • 20 Stephen Hunter
    As monotonous as Muzak, and when it comes to the plot, both bewildering and trite.
    • 45 Metascore
    • 20 Stephen Hunter
    Surely the dullest of Hollywood's many comic-book-derived summer movies, "Silver Surfer" is drearier than corn dying in the Iowa sun, slower than molasses in Antarctica.
    • 44 Metascore
    • 20 Stephen Hunter
    Polanski, generally, has fallen farther than Lucifer, and into a more profoundly depressing hell, the hell of utter banality.
    • 22 Metascore
    • 20 Stephen Hunter
    Everyone in the film is mean-spirited, manipulative and repulsive, and I'm only talking about the women! The men are much worse, particularly Dan Aykroyd.
    • 36 Metascore
    • 20 Stephen Hunter
    If you think it's worth it to sit there for 97 minutes for three or possibly four laughs, then you are beyond help.
    • 29 Metascore
    • 20 Stephen Hunter
    A pocket of infection on the skin of the American body cultural.
    • 53 Metascore
    • 20 Stephen Hunter
    It's too long, it's too dull, it's too lame.
    • 43 Metascore
    • 20 Stephen Hunter
    Represents such a professional nadir for each of its principals that you wish better for them in the new year.
    • 62 Metascore
    • 20 Stephen Hunter
    A mousy little nothing of a picture.
    • 21 Metascore
    • 20 Stephen Hunter
    What a jolly comedy theme: incest.
    • 34 Metascore
    • 20 Stephen Hunter
    The plot feels arbitrary and seems driven to invent new places for its protagonists to go, as if to justify a budget on which Woody Allen could have made six much better films.
    • 43 Metascore
    • 20 Stephen Hunter
    This film isn't so much a sequel to the original "American Pie" as a reduction of it.
    • 25 Metascore
    • 20 Stephen Hunter
    They took the most famous tale in the world and broke it.
    • 32 Metascore
    • 20 Stephen Hunter
    Nobody really cares about the plot, least of all the filmmakers.
    • 45 Metascore
    • 20 Stephen Hunter
    A crass physical comedy of unrelenting irrelevance with a gag or two amid the many other examples of bad taste, extrapolating toward infinite on the theme of remote control reality.
    • 30 Metascore
    • 20 Stephen Hunter
    What saddened me, however, wasn't the silliness but recognizing the great Swedish actress Lena Olin under a lot of "Elvira, Mistress of the Dark" makeup. What a waste.
    • 68 Metascore
    • 20 Stephen Hunter
    It's empty of ideas, which is fine, but it's also empty of heat.
    • 46 Metascore
    • 20 Stephen Hunter
    Something between an indiscretion and an atrocity.
    • 24 Metascore
    • 20 Stephen Hunter
    Crazy, ugly and scary. In fact, a sense of the grotesque runs thought the film; an extended joke about Sandler's black, dead foot (from frostbite as a kid) borders on something you find in John Waters.
    • 48 Metascore
    • 20 Stephen Hunter
    All in all, High Crimes isn't worth the crayons it took to write the script.
    • 33 Metascore
    • 10 Stephen Hunter
    It is the perfect modern product: loud, banal, empty, frenzied, plasticized, flavorless, drab, violent in a bloodless way and sexy in a sexless way.
    • 31 Metascore
    • 10 Stephen Hunter
    Though R-rated, its real target audience is under 18 -- either in years or IQ points.
    • 30 Metascore
    • 10 Stephen Hunter
    It's not brazenly bad or heroically bad or stridently bad. It's bad in all the old, dull ways of being bad: poor performances, absurd story, dreary special effects, witless dialogue and the excessive length of someone taking himself far too seriously.
    • 30 Metascore
    • 10 Stephen Hunter
    The result isn't merely ludicrous, it's something far worse. It's drab. It's uninteresting. It squanders Chan's uniqueness; it could even be said to squander Jennifer Love Hewitt!
    • Washington Post
    • 14 Metascore
    • 10 Stephen Hunter
    It has no moments of athletic grace amid the chaos, no apparent sense of strategy. It's basically just mayhem set to rock music.
    • 23 Metascore
    • 10 Stephen Hunter
    It manages to find an almost pitch-perfect accumulation of ill-matched tones, sheer grotesquerie, near-heroic absurdity and self-canceling folly.
    • 13 Metascore
    • 10 Stephen Hunter
    The movie is simply not professional. It's not, even by the lowest standards of Republic B-westerns in the '30s or bad, cheap horror films in the '50s, releasable.
    • 20 Metascore
    • 10 Stephen Hunter
    So twitchy, fidgety, skittery and wiggly that the drug it made me yearn for was Dramamine, followed by a chaser of bourbon, 12 years old.
    • 57 Metascore
    • 10 Stephen Hunter
    This one's a turkey as big as the Eiffel Tower but it's bad in a particularly American way: It's wildly overdone, it throws in everything in an attempt to appeal to everyone, it's gargantuan and anti-logical, pointlessly ornate and pointlessly violent.
    • 25 Metascore
    • 10 Stephen Hunter
    Just what we need least: a warm family comedy about child molestation.That's Georgia Rule, which combines battleship actresses of the "Steel Magnolias" variety, fall-down-go-boom comedy that was obsolete in the '30s, Lindsay Lohan's cleavage and intergenerational fondling just for kicks.
    • 48 Metascore
    • 10 Stephen Hunter
    So smug and so proud of itself, and you can tell that everybody involved conceives of it as a civics lesson instead of a story, that they squeeze all the life out of it.
    • 31 Metascore
    • 10 Stephen Hunter
    Oh, please. Stop and smell the manure.
    • 30 Metascore
    • 10 Stephen Hunter
    A meet-cute whimsy set among divorced fifty-somethings in New York, it blunders on toward oblivion, excruciatingly unfunny and pitifully unromantic.
    • 27 Metascore
    • 10 Stephen Hunter
    It can't fake sincerity. It tries ever so hard, but it doesn't have a single believable second. Every word in it is a lie.
    • 41 Metascore
    • 10 Stephen Hunter
    What a bummer! Certainly the meanest-spirited film ever associated with the Disney hallmark.
    • 12 Metascore
    • 10 Stephen Hunter
    In this movie, the sense of charm has been obliterated.
    • 18 Metascore
    • 10 Stephen Hunter
    The film turns out to have nothing going for it at all, except a small charge for soul-deep Madonna haters.
    • 79 Metascore
    • 10 Stephen Hunter
    In the end, I'm wondering what's so special about a film that has but one guilty pleasure and that's Ben Kingsley spraying saliva-lubricated variants of the F-word into the atmosphere like anti-aircraft fire for 10 solid minutes.
    • 37 Metascore
    • 10 Stephen Hunter
    The most lethal weapon of all turns out to be the script.
    • 25 Metascore
    • 10 Stephen Hunter
    The story is so ridiculous and the acting so completely amateurish, the fights have no dramatic impact; you don't care whether good Jet or bad Jet wins – not that you can tell them apart anyway.
    • 19 Metascore
    • 10 Stephen Hunter
    You could run this film backward, soundtrack included, and it would make no less sense. --It's almost completely uninvolving, as well as being impenetrable.
    • 33 Metascore
    • 10 Stephen Hunter
    Equilibrium is like a remake of "1984" by someone who's seen "The Matrix" 25 times while eating Twinkies and doing methamphetamines.
    • 13 Metascore
    • 10 Stephen Hunter
    Neither character seems especially insightful, and their intense focus on the self and the terrific delicacy of their feelings comes to feel narcissistic and annoying.
    • 29 Metascore
    • 10 Stephen Hunter
    The whole thing is coarse and vulgar, as it hides its low fascinations behind a scrim of Holocaust piety until it becomes pure kitsch.
    • 64 Metascore
    • 10 Stephen Hunter
    Isn't juvenile, it isn't even infantile. It's prenatal!
    • 26 Metascore
    • 10 Stephen Hunter
    I found myself praying that the film would jam and melt and, well past the halfway point, it did, and I was sprung, 30 minutes early.
    • 35 Metascore
    • 10 Stephen Hunter
    The new film by the phenomenally talented Scots-English trio of director Danny Boyle, producer Andrew MacDonald and screenwriter John Hodge -- they did both "Shallow Grave" and "Trainspotting" -- is a failure so absolute and witless it deserves some kind of mention in the Hall of Lame.
    • 86 Metascore
    • 10 Stephen Hunter
    A crackpot Looney Tune, pretentious, abysmally slow, amateurishly acted and, above all, wrong.
    • 41 Metascore
    • 10 Stephen Hunter
    Godzilla, go home.
    • 45 Metascore
    • 10 Stephen Hunter
    It has the overwhelming stench of a film afflicted by star ego -- Michelle Pfeiffer is never wrong, which is exactly what is wrong with The Deep End of the Ocean.
    • 33 Metascore
    • 10 Stephen Hunter
    An insufferable piffle.
    • 29 Metascore
    • 10 Stephen Hunter
    In the end, I can't think of a movie that matters less than Just My Luck. It's just negligible.
    • 37 Metascore
    • 10 Stephen Hunter
    It's about women, but as written and directed by a man, it appears to make no emotional sense at all. It treats women like idiots.
    • 45 Metascore
    • 10 Stephen Hunter
    Overblown and idiotic, this new "erotic thriller" is neither erotic nor thrilling; it's long, boring and self-indulgent.
    • 27 Metascore
    • 10 Stephen Hunter
    Shamelessly manipulative in a crude, bullying way.
    • 33 Metascore
    • 10 Stephen Hunter
    So stupid it makes "xXx: State of the Union" look like it was written by Nietzsche.
    • 24 Metascore
    • 10 Stephen Hunter
    Definitely stuck in the fourth grade.
    • 41 Metascore
    • 10 Stephen Hunter
    Watching it is like being forced to listen to bad heavy metal music turned up to 11 while fat guys in Bermuda shorts compete in a puking contest in the john.
    • 35 Metascore
    • 10 Stephen Hunter
    It's not new. It's not interesting. I wish it would go away.

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