For 1,805 reviews, this critic has graded:
  • 72% higher than the average critic
  • 3% same as the average critic
  • 25% lower than the average critic
On average, this critic grades 10 points higher than other critics. (0-100 point scale)

Steven Rea's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Ex Machina
Lowest review score: 0 Isn't She Great
Score distribution:
1,805 movie reviews
    • 74 Metascore
    • 50 Steven Rea
    A merrily macabre things-we-do-for-love yarn.
    • 73 Metascore
    • 50 Steven Rea
    And did I mention that it's long? It's long.
    • 72 Metascore
    • 50 Steven Rea
    An elaborately worked-over opus that's as tarted-up and artificial as Scorsese's '70s classic Mean Streets was gritty and real, Gangs of New York feels like a movie musical without the songs.
    • 72 Metascore
    • 50 Steven Rea
    Alas, Brick, from writer-director Rian Johnson, isn't as clever as its conceit.
    • 72 Metascore
    • 50 Steven Rea
    Feels downright ancient.
    • 70 Metascore
    • 50 Steven Rea
    Aspires to the devilish crudity and unfettered social commentary of South Park. But Zwigoff's direction lacks the exaggerated cartoonishness necessary.
    • 69 Metascore
    • 50 Steven Rea
    Less a Holocaust retribution fantasy than a messy homage to war movies, and to movies, period.
    • 68 Metascore
    • 50 Steven Rea
    For the casual viewer who feels like maybe all the Sith hoopla is worth checking out, well, it's like tuning in to the season finale of "24" without having watched a minute of its lead-up episodes.
    • 67 Metascore
    • 50 Steven Rea
    A sappy excursion to Edwardian days.
    • 67 Metascore
    • 50 Steven Rea
    A sloppy, sentimental story line and pivotal plot turns that are only sketchily realized undermine the life-on-the-road misadventures.
    • 67 Metascore
    • 50 Steven Rea
    Over the Hedge isn't by any stretch bad. It's just banal.
    • 66 Metascore
    • 50 Steven Rea
    Moderately scary, moderately amusing, intermittently dull and obvious, Diary of the Dead is not groundbreaking, nor even ground-quaking.
    • 66 Metascore
    • 50 Steven Rea
    Jonathan and Christopher Nolan's adaptation of this novel by Christopher Priest offers three acts of exasperating muddle.
    • 65 Metascore
    • 50 Steven Rea
    Gimmicky artifice.
    • 64 Metascore
    • 50 Steven Rea
    There's a fine line between stupid comedy that's actually pretty smart and stupid comedy that's just dumb, and The Other Guys crosses the line - into realms of unredeeming dunderheadedness - more often than it should.
    • 64 Metascore
    • 50 Steven Rea
    Shortbus suffers from a vague, ad lib-y script and a cast that, while hardly shy, isn't exactly charismatic.
    • 63 Metascore
    • 50 Steven Rea
    Am I crazy, or are Spring Breakers and "Oz the Great and Powerful" essentially the same movie? James Franco stars in both - a tattooed, gun-totin' gangsta in one, a charlatan magician in the other (you figure out which is which), and, in both, he's encircled by a bevy of Hollywood babes determined either to get witchy on him, or get that other witchy-rhyming word on him.
    • 63 Metascore
    • 50 Steven Rea
    Feels more like a postscript than a probing, provocative documentary.
    • 63 Metascore
    • 50 Steven Rea
    Although its low-key realism is admirable, Eden doesn't really work: the long silences, the aching stares, the telling props, Breda's quivering blues, Billy's drunkenness, his distraction. There might as well be a sign stuck to the Farrells' front door: Dysfunctional family lives here.
    • 62 Metascore
    • 50 Steven Rea
    It's still a submarine movie, confined by the ship, the sea, and a convention-laden script.
    • 62 Metascore
    • 50 Steven Rea
    Despite its penchant for the crude and lewd, is gooey in ways that have nothing to do with bodily fluids.
    • 62 Metascore
    • 50 Steven Rea
    Far-fetched and utterly humorless, with a literally tacked-on conclusion (yes, more text on the screen), the only thing that's surprising about Unbreakable is how lame it is.
    • 62 Metascore
    • 50 Steven Rea
    The film feels long, the editing is choppy, and the plot strands are at once convoluted and cliched.
    • 61 Metascore
    • 50 Steven Rea
    Boy, can Harvey Keitel be bad -- and not bad like "Bad Lieutenant," bad like bad acting.
    • 61 Metascore
    • 50 Steven Rea
    The Weather Man belongs to a school of earnest, artsy Hollywood flicks that includes the Michael Douglas-goes-bonkers "Falling Down," and a lineage that goes back to revered 1970s pics like "Five Easy Pieces."
    • 59 Metascore
    • 50 Steven Rea
    Too cute by half (or maybe three-quarters).
    • 59 Metascore
    • 50 Steven Rea
    Zemeckis, who blazed trails mixing live-action with animation in "Who Framed Roger Rabbit," blazes not even a footpath here.
    • 59 Metascore
    • 50 Steven Rea
    If you want to see a Renaissance faire turned into an apocalyptic battlefield, this is the ticket.
    • 59 Metascore
    • 50 Steven Rea
    Run All Night isn't dull. The pace is breakneck, and necks get broken. But the violence is relentless, ugly, unredeemed by any real humanity.
    • 59 Metascore
    • 50 Steven Rea
    Who knows if it was Del Toro's idea, or Stone's, but at a particularly crucial - and criminal - moment, as a very bad thing is about to occur, the actor twirls his mustache menacingly, like a Mexican Snidely Whiplash. Yes, Savages is that kind of story.
    • 58 Metascore
    • 50 Steven Rea
    "There's nothing here!" screams Romina Mondello - Kurylenko's Euro gal pal, walking the deserted sidewalks of this Anytown, U.S.A. Boy, truer words . . ..
    • 58 Metascore
    • 50 Steven Rea
    Awash in nostalgia and amped-up male camaraderie, Richard Curtis' Pirate Radio takes a great story - the hugely popular offshore radio stations that illegally broadcast pop and rock in 1960s Britain - and turns it into an aggressively irritating floating frat-party romp.
    • 58 Metascore
    • 50 Steven Rea
    Full of forced jocularity and drawing-room hissy fits, with its cast parading around in vintage threads and antique cars, Easy Virtue is a close-to-insufferable souffle based on the 1925 Noel Coward play.
    • 58 Metascore
    • 50 Steven Rea
    The film veers between cutting parody and cliche, threatening to become interesting at any moment, but never quite doing so.
    • 58 Metascore
    • 50 Steven Rea
    This is not about a reluctant hero drawing courage from some deep personal well. It's not about dread and danger. It's about visual effects.
    • 57 Metascore
    • 50 Steven Rea
    In Don McKellar's remake of "Seducing Doctor Lewis", a 2003 French-Canadian comedy, the charm feels force-fed.
    • 57 Metascore
    • 50 Steven Rea
    The trouble with The Last Kiss comes down to Paul Haggis' screenplay.
    • 57 Metascore
    • 50 Steven Rea
    Jeremy Irons slithers on board with a haughty sneer and papal vestments, playing Bishop Pucci.
    • 57 Metascore
    • 50 Steven Rea
    With a clamorous soundtrack and a whirl of elaborate chases and busily choreographed fight scenes, this is Sherlock Holmes with Attention Deficit Disorder.
    • 56 Metascore
    • 50 Steven Rea
    Not even Halle Berry, emerging from the blue Caribbean in an orange two-piece -- can bring this thing to life.
    • 56 Metascore
    • 50 Steven Rea
    For high-speed action, eye-popping locales, and chopsocky fight-fests galore, watch The Transporter - on video.
    • 56 Metascore
    • 50 Steven Rea
    The movie pulls off the worst kind of con: the one that disappoints.
    • 56 Metascore
    • 50 Steven Rea
    Non-Stop gets increasingly far-fetched as the jet makes its way across the Atlantic. Certainly, there are more red herrings on the plane than there are in the sea below. And Neeson has to stare down every last one of them.
    • 56 Metascore
    • 50 Steven Rea
    Joltingly graphic and atmospheric (Nixey and his crew at least know how to set up a few good shocks), Don't Be Afraid of the Dark fails to involve us in any meaningful way with its characters.
    • 56 Metascore
    • 50 Steven Rea
    A great story - and a true one, more or less - Bottle Shock nonetheless fails to deliver much in the way of entertainment.
    • 55 Metascore
    • 50 Steven Rea
    At least an hour of Man of Steel's excessive running time is devoted to the sort of crash-and-burn, slamming-into-skyscrapers CG fight scenes that we've already seen in "The Avengers" and "Dark Knight," "Iron Man," and "Spider-Man." Man of Steel is just the same old same old.
    • 55 Metascore
    • 50 Steven Rea
    A silly melodrama.
    • 55 Metascore
    • 50 Steven Rea
    Cloud Atlas is pop spiritualism, comic-book grandiosity, Zen for dummies. I can't say I didn't enjoy it on some level, but it's not the level of universal wisdom the Wachowskis and Tykwer would have us be on.
    • 55 Metascore
    • 50 Steven Rea
    Promised Land is a frustrating film to watch. It should be better than this, smarter than this.
    • 55 Metascore
    • 50 Steven Rea
    If only the screenplay had more going for it than hackneyed homilies and living-in-the-ghetto stereotypes. If only first-time director Sunu Gonera had a surer hand, a knack for something bolder, wilder, goofier.
    • 55 Metascore
    • 50 Steven Rea
    An overobvious and underwhelming satire about American consumerism run amok.
    • 55 Metascore
    • 50 Steven Rea
    There are so many things wrong with Luhrmann's Great Gatsby - the filmmaker's attention-deficit-disorder approach, the anachronistic convergence of hip-hop and swing, the choppy elision of Fitzgerald's plot, the jarring collision of Jazz Age cool and Millennial cluelessness. But at the crux of things, the problem is that it's impossible to care.
    • 54 Metascore
    • 50 Steven Rea
    For all its visual delights, Magic in the Moonlight, the 44th feature written and directed by the admirably industrious Woody Allen, has to be one of his bigger duds.
    • 54 Metascore
    • 50 Steven Rea
    Almost certainly, The Last Stand will not be Schwarzenegger's last. For better or for worse (and this is somewhere right in the middle), he is back.
    • 54 Metascore
    • 50 Steven Rea
    A lush, lovely snooze-fest.
    • 54 Metascore
    • 50 Steven Rea
    Bobby has its heart in the right place (on its sleeve). But it doesn't have its screenplay anywhere - or at least, anywhere near the heft that its subject demands.
    • 54 Metascore
    • 50 Steven Rea
    Rock Star sinks into a morass of melodrama.
    • 54 Metascore
    • 50 Steven Rea
    The big shift between Carpenter's B-movie and filmmaker Jean-François Richet's comic book-style remake is that instead of a troop of bloodthirsty gang members encircling the precinct, the bad guys here all look like good guys.
    • 54 Metascore
    • 50 Steven Rea
    Vacancy, in the end, simply offers a particularly aggressive brand of couples counseling.
    • 53 Metascore
    • 50 Steven Rea
    A woefully thin and pointless musical comedy boasting the no-chemistry coupling of Cuba Gooding Jr. and Beyonc?
    • 53 Metascore
    • 50 Steven Rea
    Decidedly loopy and nonlinear, Mister Lonely is precious and artsy, but there are moments when Korine's, er, unique vision brings something bold and beautiful to the table.
    • 53 Metascore
    • 50 Steven Rea
    It's old, old hat.
    • Philadelphia Inquirer
    • 53 Metascore
    • 50 Steven Rea
    If only RocknRolla's characters were at all believable - even in the context of its own cartoon universe.
    • 53 Metascore
    • 50 Steven Rea
    Directed by Terrence Malick's editor and protégé, A.J. Edwards, The Better Angels abounds with Malick-ian moments: upward-pointing cameras capturing bodies wheeling through fields, plaintive voice-overs punctuated by Jew's harp and birdsong, a tendency to drift toward the sky and its moody tableau of clouds.
    • 53 Metascore
    • 50 Steven Rea
    War is hell, war is cruelty, war is toil and trouble, war is just a shot away. But is war a snooze? Well, by the time Enemy at the Gates has run its course — it sure seems that way.
    • Philadelphia Inquirer
    • 53 Metascore
    • 50 Steven Rea
    It's a sorry spectacle, watching garden gnomes being robbed of their dignity.
    • 53 Metascore
    • 50 Steven Rea
    Epic piffle.
    • 53 Metascore
    • 50 Steven Rea
    There are tiny glints of humor and intelligence at work, and the action and animation rockets along slickly and stylishly. But unlike the protagonists of almost any and all of the Pixar titles, Astro Boy's namesake lacks even an iota of soul.
    • 53 Metascore
    • 50 Steven Rea
    A long, tedious and convoluted follow-up to 2003's rollicking high-seas hit, The Curse of the Black Pearl, this second installment in the promised trilogy lacks the swash and buckle of the original. And then some.
    • 53 Metascore
    • 50 Steven Rea
    In Time is that kind of movie: Philip K. Dick for knuckleheads.
    • 52 Metascore
    • 50 Steven Rea
    DePalma's movie offers its own doctoring and processing, without delivering an ounce of real humanity - good or bad - in the bargain.
    • 52 Metascore
    • 50 Steven Rea
    The real problem isn't with the actors, it's with 1) the source material, a highfalutin romance novel with a clever literary conceit, and 2) LaBute's clumsy, uncomfortable efforts to telescope Byatt's book into a workable movie.
    • 52 Metascore
    • 50 Steven Rea
    Alas, something happened on the book-to-screen operating table: Yes, Running With Scissors is rich, twisted, insane, mordant and ridiculous, but it is not funny. Not at all.
    • 52 Metascore
    • 50 Steven Rea
    As for Bale, he seems to have lost his compass. His accent strays, his famous intensity wasted on clunky dialogue.
    • 52 Metascore
    • 50 Steven Rea
    Alas, it's a throwback that's thrown its back out - limping along, trailed by battalions of stereotypes and ammo rounds of cliche.
    • 52 Metascore
    • 50 Steven Rea
    The real problem is that there's nothing to George but the movie's props.
    • Philadelphia Inquirer
    • 51 Metascore
    • 50 Steven Rea
    A big comedown from "The Fighter," Contraband finds Wahlberg in default mode: With his Popeye biceps and broody stares, the actor can do a character like Chris without even thinking about it - and that's what he does here.
    • 51 Metascore
    • 50 Steven Rea
    300
    300 is "Gladiator" for the gamer set.
    • 51 Metascore
    • 50 Steven Rea
    Alternately tedious, cliched and unintentionally funny.
    • 51 Metascore
    • 50 Steven Rea
    A moody cyber-noir with not much on its mind but looking good, Blackhat is a must-see if you like your dialogue (romantic, dramatic, subtitled Cantonese) peppered with techspeak.
    • 51 Metascore
    • 50 Steven Rea
    Dumb, dumb, dumb - borrowing scare tactics from Hitchcock and other suspense masters, but forgetting basic story.telling essentials such as character development and logical exposition.
    • 51 Metascore
    • 50 Steven Rea
    Tonally, Casino Jack is all over the place: exaggerated comedy, cartoonish high jinks, then heavy-handed melodrama (a third-act face-off between Abramoff and his wife, played with no center of gravity by Kelly Preston, comes out of nowhere).
    • 51 Metascore
    • 50 Steven Rea
    Intermittent moments of mild amusement ensue.
    • 51 Metascore
    • 50 Steven Rea
    The film is at once shamelessly transparent, manipulative, and far-fetched, and impossibly suspenseful. You'll want to take a shower afterward - that's how icky you'll feel.
    • 50 Metascore
    • 50 Steven Rea
    Shot on the cheap, with cheesy animated credits and comic-panel "Bams!" and "Pows!" splashed across the screen, Super has a jokey, low-rent quality (or lack of quality) that could be endearing, if Wilson's performance weren't so nihilistically dull, and if there were somebody in the picture who had a soul.
    • 50 Metascore
    • 50 Steven Rea
    Stevenson is big and swarthy and not altogether without credibility, but he's got as much charisma as a potato.
    • 50 Metascore
    • 50 Steven Rea
    Never mind the facts. True Story, slick and shaky, doesn't know where the truth lies.
    • 50 Metascore
    • 50 Steven Rea
    Relying on improv-y riffing and watch-them-coming-from-down-the-block-and-around-the-corner sight gags, The Campaign is intermittently amusing, but more often just interminable.
    • 50 Metascore
    • 50 Steven Rea
    The Island could be read as a metaphor for societal ills (commercialization, conformity, pharmaceutical overkill) if it weren't so shamelessly dumb. And dumb it is.
    • 50 Metascore
    • 50 Steven Rea
    Flat and predictable.
    • 50 Metascore
    • 50 Steven Rea
    There's nothing hip or ironic about Poseidon, which makes Russell and Lucas the perfect leading men.
    • 50 Metascore
    • 50 Steven Rea
    How bad is Prince of Persia? Whether or not director Mike Newell is to blame, the action sequences lack verve and scope.
    • 49 Metascore
    • 50 Steven Rea
    The trouble with Alfie - apart from the film's existence, and the wrongheaded idea of remaking a minor classic - is that not a soul is likable.
    • 49 Metascore
    • 50 Steven Rea
    There's not a believable character, nor line of convincing dialogue to be found.
    • 49 Metascore
    • 50 Steven Rea
    Eva Longoria brings a crisp swagger and fluent Spanish to her role.
    • 49 Metascore
    • 50 Steven Rea
    It isn't frightening. Sometimes, in fact, it's laughable.
    • 49 Metascore
    • 50 Steven Rea
    Utterly charmless - there's not even a glimmer.
    • Philadelphia Inquirer
    • 49 Metascore
    • 50 Steven Rea
    Eisenberg (who starred in director Fleischer's far better Zombieland) does his usual Eisenbergian thing, more slacker and less hacker, but still hitting the same notes. And Ansari squawks and yelps, like a parrot with a grudge.
    • 49 Metascore
    • 50 Steven Rea
    Fairy-tale-like musing on true love in cynical times.
    • Philadelphia Inquirer
    • 49 Metascore
    • 50 Steven Rea
    It'd be nice if Jason Statham and Ben Foster, The Mechanic's mentor/protege duo, could crack a smile. Once.

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