For 1,798 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:
1,798 movie reviews
    • 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
    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
    • 39 Metascore
    • 50 Steven Rea
    An uninspired computer-animated feature that may satisfy undiscriminating pipsqueaks and nearly no one else, Planet 51 is a low-IQ E.T. in reverse.
    • 21 Metascore
    • 50 Steven Rea
    Fuzzy, feel-good movie about baseball, babes and believing in yourself.
    • 55 Metascore
    • 50 Steven Rea
    Promised Land is a frustrating film to watch. It should be better than this, smarter than this.
    • 26 Metascore
    • 50 Steven Rea
    Full of clunky humor, battle-of-the-sexes musings and spicy accordion music, Everybody Wants to Be Italian is relentless - but not necessarily relentless fun.
    • 35 Metascore
    • 50 Steven Rea
    The movie's main purpose seems to be to make audiences squirm uncomfortably. Yelp and shriek in armchair-clawing glee? Not likely.
    • 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.
    • 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.
    • 40 Metascore
    • 50 Steven Rea
    Cold and stylish, slick and violent.
    • Philadelphia Inquirer
    • 44 Metascore
    • 50 Steven Rea
    The script is boilerplate, the wit pretty much witless.
    • 38 Metascore
    • 50 Steven Rea
    Yes, bestiality in a PG-13 movie. It's the end of life as we know it.
    • 43 Metascore
    • 50 Steven Rea
    A noisy, not particularly charming collection of skits and skirmishes.
    • 38 Metascore
    • 50 Steven Rea
    Men, Women & Children isn't a cartoon. It wants to be real, terribly. Instead, it's just terrible.
    • 26 Metascore
    • 50 Steven Rea
    By Twisted's final twist, though, it's all Judd can do to keep a straight face.
    • 53 Metascore
    • 50 Steven Rea
    It's old, old hat.
    • Philadelphia Inquirer
    • 49 Metascore
    • 50 Steven Rea
    Directed in moody, downbeat tones by Daniel Barnz, Cake doesn't know when to stop piling on the angst.
    • 45 Metascore
    • 50 Steven Rea
    For its amusing premise, Fanboys is scarily flat.
    • 28 Metascore
    • 50 Steven Rea
    No one is bad in The Big Wedding, but no one is remotely believable, either.
    • 47 Metascore
    • 50 Steven Rea
    Dull plod.
    • 47 Metascore
    • 50 Steven Rea
    It is a good hour too long, although it does boast Christopher Walken.
    • 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.
    • 69 Metascore
    • 50 Steven Rea
    Less a Holocaust retribution fantasy than a messy homage to war movies, and to movies, period.
    • 33 Metascore
    • 50 Steven Rea
    Manages to rocket along at full speed. At the same time, however, the movie feels as if it's not going anywhere at all.
    • 35 Metascore
    • 50 Steven Rea
    What Hannibal Rising is, mostly, is a hoot.
    • 38 Metascore
    • 50 Steven Rea
    The real Radio, and the real coach -- seen together in the movie's feel-good epilogue -- deserve better.
    • 45 Metascore
    • 50 Steven Rea
    Murky and grainy, and showing human beings at their grimmest - thievery, rape, betrayal, murder - Blindness is no barrel of laughs. But it IS a barrel of pretentious metaphorical musings.
    • 23 Metascore
    • 50 Steven Rea
    Stephen King without the snap, David Lynch without the kink, teen horror without the teen hormones, Darkness Falls falls apart in a crescendo of creepy-crawly hoo-ha. It's more like Darkness Kerplunks.
    • 27 Metascore
    • 50 Steven Rea
    Isn't as jaw-droppingly awful as its trailers suggest.
    • 24 Metascore
    • 50 Steven Rea
    A thuddingly dull remake of the 1971 crime drama starring Michael Caine.
    • Philadelphia Inquirer
    • 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
    Epic piffle.
    • 50 Metascore
    • 50 Steven Rea
    There's nothing hip or ironic about Poseidon, which makes Russell and Lucas the perfect leading men.
    • 62 Metascore
    • 50 Steven Rea
    It's still a submarine movie, confined by the ship, the sea, and a convention-laden script.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Steven Rea
    Feels like the cinematic equivalent of the BP disaster in the gulf: It's a big-screen oil spill, a needless gushing of macho bluster and wild set pieces, and a waste of millions and millions of dollars.
    • 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.
    • 39 Metascore
    • 50 Steven Rea
    Harry Connick Jr. acquits himself best of the lot.
    • 35 Metascore
    • 50 Steven Rea
    In truth, the only hazardous material to be found in Diana - the title role assumed bravely, if mistakenly, by Naomi Watts - is the screenplay.
    • 42 Metascore
    • 50 Steven Rea
    Doesn't take itself seriously, and that's a good thing.
    • 28 Metascore
    • 50 Steven Rea
    For all its mayhem, for all the smashing windows and kabooming fireballs, the grenade launchers and giant helicopters, A Good Day to Die Hard not only fails to top its predecessors, it also forgets the basic Die Hard rules.
    • 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.
    • 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.
    • 34 Metascore
    • 50 Steven Rea
    Filled with close-ups of Jesus and his apostles (all the better to hide the absence of elaborate period sets), mixing quotes from the Scripture with flat exposition, this low-budget affair is earnest and, alas, more than a little bit cartoonish.
    • 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.
    • 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.
    • 39 Metascore
    • 50 Steven Rea
    Thank goodness for Leslie Mann. If not for the nutball charm of this tight-wound whirlwind, the dispiriting Hollywood sex comedy The Other Woman would be close to unbearable.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Steven Rea
    Feels thoroughly canned.
    • 36 Metascore
    • 50 Steven Rea
    The script appears to have been designed, created and produced entirely in 1-D: a mishmash of kidcentric antics, follow-your-dream cliches, and innocuously icky humor.
    • 30 Metascore
    • 50 Steven Rea
    Has a low-key tone that works in its favor for a time.
    • 38 Metascore
    • 50 Steven Rea
    It works here and there. And then it doesn't.
    • 45 Metascore
    • 50 Steven Rea
    Shot in Panama, with a cast of local Indians and B-tier Latino and Anglo actors, End of the Spear has neither the marquee heft nor the artistic gravitas of "The New World."
    • 48 Metascore
    • 50 Steven Rea
    Chicken Little is entirely lacking in anything "Disneyesque."
    • 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.
    • 57 Metascore
    • 50 Steven Rea
    The trouble with The Last Kiss comes down to Paul Haggis' screenplay.
    • 37 Metascore
    • 50 Steven Rea
    An alarmingly charmless attempt to evoke the elegant romance and jaunty, jet-setting intrigue of the aforementioned titles, The Tourist is notable for the total absence of movie-star heat that movie stars are paid unseemly sums to radiate.
    • 37 Metascore
    • 50 Steven Rea
    Until Seven Days in Utopia sucker punches you with a surfeit of faith-based platitudes, its upbeat brand of golf mysticism isn't altogether unappealing.
    • 46 Metascore
    • 50 Steven Rea
    The film never gives you a real sense of what drove Darin on, fighting a heart ailment (from childhood rheumatic fever) and fighting an industry and press that wanted to pigeonhole him.
    • 47 Metascore
    • 50 Steven Rea
    The folks at Disney's Touchstone Pictures would have been wiser, however, just to have forgotten all about this hyperactive farce.
    • 40 Metascore
    • 50 Steven Rea
    From its jungle forays to its waterfall tumbles to its deadly spider bites - is entirely, utterly unoriginal.
    • 29 Metascore
    • 50 Steven Rea
    A handsome Holocaust melodrama hobbled by a transparent and cartoonish script.
    • 47 Metascore
    • 50 Steven Rea
    A strange mix of showbiz whodunit and soft-core eroticism, with a couple of fine actors - Kevin Bacon and Colin Firth - wandering around stunned and stoned-looking, as if someone slipped them a mickey.
    • 29 Metascore
    • 50 Steven Rea
    Seyfried holds the camera's attention, playing this storybook business pretty much straight, although David Leslie Johnson's script puts the actress sorely to the test.
    • 31 Metascore
    • 50 Steven Rea
    A dark, shaky, standard-issue superhero picture.
    • 43 Metascore
    • 50 Steven Rea
    Does the world really need another movie about a married guy wandering blindly into an affair, or the married gal who can't decide whether to remain faithful or fool around?
    • 41 Metascore
    • 50 Steven Rea
    Knowing has about a half-dozen screenwriter credits, which may explain why scenes crash up against one another - smart, stupid, far-fetched, compelling. And the trouble is that Cage walks (or runs) through them all, treating each with the same level of intensely goofy seriousness.
    • 34 Metascore
    • 50 Steven Rea
    A mildly scary, totally meaningless excursion into the realms of psychological horror and alien-abduction conspiracies.
    • 44 Metascore
    • 50 Steven Rea
    Where Mike Figgis' film, with Nicolas Cage and Elisabeth Shue, bore deeply and darkly into emotional territory, The Center of the World turns out to be just as fake as its setting.
    • Philadelphia Inquirer
    • 53 Metascore
    • 50 Steven Rea
    In Time is that kind of movie: Philip K. Dick for knuckleheads.
    • 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.
    • 72 Metascore
    • 50 Steven Rea
    Alas, Brick, from writer-director Rian Johnson, isn't as clever as its conceit.
    • 49 Metascore
    • 50 Steven Rea
    Eva Longoria brings a crisp swagger and fluent Spanish to her role.
    • 42 Metascore
    • 50 Steven Rea
    The problem with NATM:BOTS is that Stiller, Adams, and company seem to be pretending that they're having fun, too.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Steven Rea
    The film feels long, the editing is choppy, and the plot strands are at once convoluted and cliched.
    • 14 Metascore
    • 50 Steven Rea
    Much of the dialogue is the silliest sort of fantasy mush, and a good deal of the picture appears to have been shot while the lighting guys were out to lunch.
    • Philadelphia Inquirer
    • 50 Metascore
    • 50 Steven Rea
    Never mind the facts. True Story, slick and shaky, doesn't know where the truth lies.
    • 32 Metascore
    • 50 Steven Rea
    Hemsworth, who is Gale Hawthorne in "The Hunger Games" and the brother of the Hemsworth who stars as "Thor", has maybe one arrow in his acting quiver - he can look engaged.
    • 51 Metascore
    • 50 Steven Rea
    Intermittent moments of mild amusement ensue.
    • 50 Metascore
    • 50 Steven Rea
    Flat and predictable.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Steven Rea
    A knuckleheaded period piece.
    • 40 Metascore
    • 50 Steven Rea
    Shaquille O'Neal and Dr. Phil open Scary Movie 4 with an achingly unfunny couple of minutes of severed limbs and errant hoop shots.
    • 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.
    • 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.
    • 33 Metascore
    • 50 Steven Rea
    Sandler, shambling and smirky, delivers another of those one-take performances of his - likable and lazy, forever on the verge of cracking himself up.
    • 45 Metascore
    • 50 Steven Rea
    The closest FF:ROTSS gets to wit is when Johnny convinces a reluctant Reed to attend a bachelor party, after promising the uptight groom-to-be that there won't be any "exotic dancers."
    • 53 Metascore
    • 50 Steven Rea
    It's a sorry spectacle, watching garden gnomes being robbed of their dignity.
    • 28 Metascore
    • 50 Steven Rea
    Obama, it is implied, is deliberately making America more vulnerable to attack from Muslim extremists. No mention is made of the fact that it was under Obama's watch that Osama bin Laden was killed.
    • 33 Metascore
    • 50 Steven Rea
    If that sounds a lot like Rushmore, it is, except that the heart has been sucked out of the thing -- replaced by glib chatter, gratuitous Baudelaire references, and distracting product placement.
    • 51 Metascore
    • 50 Steven Rea
    300
    300 is "Gladiator" for the gamer set.
    • 37 Metascore
    • 50 Steven Rea
    Despite some jaunty performances and its pretty Cotswolds locale, the film, in the end, is hardly a pleasure at all.
    • 47 Metascore
    • 50 Steven Rea
    Lakeview Terrace's pretense at exploring racial intolerance has been exposed for what it really is: a B-movie copout.
    • 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.
    • 38 Metascore
    • 50 Steven Rea
    If Taking Lives starts off with a modicum of wit and creepy-crawly scares, it winds up somewhere else altogether: in the cliche-strewn land of preposterous red herrings.
    • 40 Metascore
    • 50 Steven Rea
    Catastrophically overdone.
    • 72 Metascore
    • 50 Steven Rea
    Feels downright ancient.
    • 61 Metascore
    • 50 Steven Rea
    Boy, can Harvey Keitel be bad -- and not bad like "Bad Lieutenant," bad like bad acting.
    • 41 Metascore
    • 50 Steven Rea
    Elegiac and corny and not really convincing on any level (especially when it comes to its treatment of women - be they hookers, or waitresses, or girls on the town), Stand Up Guys nonetheless holds some fascination just for the off-the-charts affectedness of Pacino's performance.
    • 37 Metascore
    • 50 Steven Rea
    Fails to provide one essential ingredient: suspense.
    • 46 Metascore
    • 50 Steven Rea
    It's a big stuffed turkey of a movie, just in time for the holidays.
    • Philadelphia Inquirer
    • 46 Metascore
    • 50 Steven Rea
    Satire should be knife-sharp and whip-smart, and The Nanny Diaries never is.
    • 65 Metascore
    • 50 Steven Rea
    Gimmicky artifice.
    • 57 Metascore
    • 50 Steven Rea
    In Don McKellar's remake of "Seducing Doctor Lewis", a 2003 French-Canadian comedy, the charm feels force-fed.
    • 45 Metascore
    • 50 Steven Rea
    Hesher has its genuinely affecting scenes, but too much of the time it feels false and shallow.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Steven Rea
    A syrupy and extraordinarily ridiculous adaptation.
    • 24 Metascore
    • 50 Steven Rea
    Piles dumb gag upon dumb gag - it's like benign pummeling. Occasionally, you just have to laugh.
    • 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.
    • 40 Metascore
    • 50 Steven Rea
    There's little of the seen-it-all, wise-guy acerbity that made his character in the X-Men trilogy stand apart from his fellow mutants. Here, he just glowers.
    • 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.
    • 47 Metascore
    • 50 Steven Rea
    There are, to be sure, some impressive special effects here, and whoever Warner Bros. hires to make the new Superman movie should take notes.
    • 47 Metascore
    • 50 Steven Rea
    Ultimately, 44 Inch Chest has very little on its mind.
    • 74 Metascore
    • 50 Steven Rea
    A merrily macabre things-we-do-for-love yarn.
    • 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.
    • 45 Metascore
    • 50 Steven Rea
    Aimed at teens and tweens, the almost-squeaky-clean Step Up 3-D shamelessly piles on the corn, stacking it so high that it's bound to tilt over and collapse.
    • 43 Metascore
    • 50 Steven Rea
    To say that The Grace Card piles it on is an understatement of profound dimensions.
    • 22 Metascore
    • 50 Steven Rea
    A collection of double entendres that would make a stevedore blush.
    • 48 Metascore
    • 50 Steven Rea
    A TV-movie-ish love story laden with heavy-handed metaphor... The Theory of Flight is feeble stuff.
    • 66 Metascore
    • 50 Steven Rea
    Moderately scary, moderately amusing, intermittently dull and obvious, Diary of the Dead is not groundbreaking, nor even ground-quaking.
    • 41 Metascore
    • 50 Steven Rea
    Kilcher is lovely. But sadly, Ka'iulani is a perfunctory biopic of the sort one might encounter on television during Women's History Month.
    • 20 Metascore
    • 50 Steven Rea
    Hopped up like a kid on a sugar rush, Hoodwinked Too! tries to emulate the "Shrek" formula - mashing Hans Christian Anderson and the Brothers Grimm with pop-culture references and wisecracking anthropomorphic sidekicks.
    • 46 Metascore
    • 50 Steven Rea
    Around the Bend doesn't inspire one to care.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Steven Rea
    What this arid and arty exercise offers is the opportunity for a bunch of actors, many of them tethered to TV series, to deliver theatrical monologues pulsing with misogyny and narcissism. It's like second-rate Neil Labute.
    • 39 Metascore
    • 50 Steven Rea
    In fact, no one in The Gunman looks happy. And what happened to chivalry? If a fierce squad of goons is coming after you and your ex, whom you still love, and there's only one Kevlar vest to throw on, don't you offer it to her? Apparently not.
    • 46 Metascore
    • 50 Steven Rea
    This glum and grandiose new King Arthur has little to do with the Camelot monarch we've come to know through books and film.
    • 54 Metascore
    • 50 Steven Rea
    A lush, lovely snooze-fest.
    • 45 Metascore
    • 50 Steven Rea
    The playwright, actor, director and drag queen (yes, his bewigged and be wild Madea makes a brief and totally gratuitous appearance in his new film) knows how to give human dimension, and a dimension of humor, to the cliches and stereotypes.
    • 34 Metascore
    • 50 Steven Rea
    "Kill Bill" without irony, and without Quentin Tarantino's flair for cool dialogue and chop-socky action (and without Uma Thurman, for that matter), Elektra is a pretty-looking, pretty dull adaptation of the Marvel Comic about a dishy, deadly assassin.
    • 36 Metascore
    • 50 Steven Rea
    Lady in the Water boasts an eclectic cast - almost entirely squandered.
    • 31 Metascore
    • 50 Steven Rea
    The movie bogs down in tiresome good guys vs. bad guys action cliches.
    • 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.
    • 56 Metascore
    • 50 Steven Rea
    For high-speed action, eye-popping locales, and chopsocky fight-fests galore, watch The Transporter - on video.
    • 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).
    • 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.
    • 30 Metascore
    • 50 Steven Rea
    The film drifts along on a stream of humiliation jokes - physical, emotional, sexual, hairpiece-ial.
    • 41 Metascore
    • 50 Steven Rea
    Chappie has a nothing-to-lose Roger Cormanesque quality about it, low on budget (except for the CGI robots) and low on meaning, but full of high-velocity chases, helicopter pursuits, and weapons blasting around empty warehouses marred by graffiti and trash.
    • 55 Metascore
    • 50 Steven Rea
    An overobvious and underwhelming satire about American consumerism run amok.
    • 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.
    • 29 Metascore
    • 50 Steven Rea
    Travolta, a bit portly (or is it starboardly?), phones in his performance from his place in Maine; Vaughn is ice-cool but not especially convincing; the kid is OK, and Polo is a blank.
    • Philadelphia Inquirer
    • 43 Metascore
    • 50 Steven Rea
    In Jersey Girl, Kevin Smith wears his heart on his sleeve - and on his pants, socks, boxers and backward-facing baseball cap.
    • 47 Metascore
    • 50 Steven Rea
    Anderson, who's turned Brit in a number of TV series and films, including "Bleak House" and "The Last King of Scotland," is compelling in her white lab coat and surgical scrubs, and she brings some real tenderness to her tete-a-tetes with Mulder.
    • 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.
    • 49 Metascore
    • 50 Steven Rea
    Utterly charmless - there's not even a glimmer.
    • Philadelphia Inquirer
    • 23 Metascore
    • 50 Steven Rea
    A messy fish-out-of-water gangland romp.
    • 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.
    • 17 Metascore
    • 50 Steven Rea
    A tad more character development would have been nice.
    • 33 Metascore
    • 50 Steven Rea
    A by-the-numbers extravanganza that journeys from London to Venice to Siberia to Cambodia without ever really going anywhere.
    • Philadelphia Inquirer
    • 37 Metascore
    • 50 Steven Rea
    Ultimately, Evan Almighty is too sappy, too sanctimonious.
    • 40 Metascore
    • 50 Steven Rea
    As for Kunis, she gets to wear some out-of-this-world couture, and gets to make her entrance at a marriage ceremony on a floating dais, kind of like Katy Perry at the Super Bowl.
    • 56 Metascore
    • 50 Steven Rea
    The movie pulls off the worst kind of con: the one that disappoints.
    • 45 Metascore
    • 50 Steven Rea
    For a while, Firewall whips up the accordant dollops of suspense and dread, but it's not long before the timely issue of identity theft takes a backseat to old-fashioned Hollywood villainy, unnecessary (and nonsensical) red herrings, and STUFF THAT DOESN'T MAKE SENSE.
    • 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.
    • 67 Metascore
    • 50 Steven Rea
    Over the Hedge isn't by any stretch bad. It's just banal.
    • 37 Metascore
    • 50 Steven Rea
    A squirmy mix of therapy-session slogans, pop psychobabble, and lots of crying, yelling and pouting on the part of its two stars, who appear in various alarming hairpieces.
    • 39 Metascore
    • 50 Steven Rea
    Although Will Ferrell materializes for a goofball cameo, The Goods: Live Hard, Sell Hard lacks a key element that his "Talladega Nights" and "Anchor Man" both had - that is, somebody to like.
    • 33 Metascore
    • 38 Steven Rea
    Hands-down the most nightmarishly awful film of the year.
    • 26 Metascore
    • 38 Steven Rea
    A mix of "Alice in Wonderland" and William S. Burroughs, "Psycho" and the psychotic. It's pretty much a squirmy experience all around.
    • 42 Metascore
    • 38 Steven Rea
    I'll be darned if I can think of a more excruciating, ponderous, remarkably unfunny and inert cinemagoing experience to come down the pike in ages.
    • Philadelphia Inquirer
    • 31 Metascore
    • 38 Steven Rea
    Envy makes a pretty entertaining three-minute trailer. If only they'd left it at that.
    • 36 Metascore
    • 38 Steven Rea
    A riotously awful biopic rife with stereotypes and boxing movie cliches, Against the Ropes represents -- among other things -- a woeful turn in its star's career.
    • 36 Metascore
    • 38 Steven Rea
    This startlingly lame tale about a young upstart challenging a veteran leader of the pack doesn't update the genre, it simply recasts it.
    • 37 Metascore
    • 38 Steven Rea
    If Matthew Weiner's Are You Here is good for anything, it's to illustrate how the themes and conflicts he has worked out with such depth and dexterity in all these seasons of "Mad Men" can go terribly amiss with the wrong actors, wrong backdrop, wrong tone, wrong time.
    • 28 Metascore
    • 38 Steven Rea
    Nicely timed to cash in on the Ebola panic, Cabin Fever: Patient Zero - the prequel to the gross-out franchise about a lethal flesh-eating virus and its party-hardy victims - isn't going to do much for the tourism trade in the Dominican Republic.
    • 49 Metascore
    • 38 Steven Rea
    Tobey Maguire, terribly miscast and squeaky (that voice - it belongs to a kid!).
    • 25 Metascore
    • 38 Steven Rea
    Guy Ritchie's Revolver premiered at the Toronto International Film Festival two years ago September. That's 26 months on a shelf somewhere, depriving moviegoers the thrill of jaw-droppingly awful Ray Liotta line readings, of bloody shoot-outs, bags of money, cutaways to frosty babes sucking on lollipops, and even a bit of violent anime.
    • 30 Metascore
    • 38 Steven Rea
    Maybe if there was something going with the dialogue - snappy Chandlerisms, say, or even just sentences that made sense - the fussy digital artifice of The Spirit wouldn't seem so, well, dispiriting.
    • 30 Metascore
    • 38 Steven Rea
    Profoundly knuckleheaded.
    • 10 Metascore
    • 38 Steven Rea
    Lewd, crude, blessedly brief.
    • Philadelphia Inquirer
    • 42 Metascore
    • 38 Steven Rea
    How'd this thing get made?
    • 33 Metascore
    • 38 Steven Rea
    Uptown Girls gives the impression that everyone behind the camera just threw up their hands in helpless resignation.
    • 25 Metascore
    • 38 Steven Rea
    Director Rob Meltzer, who made the kind-of-amusing meta short "I Am Stamos," directs things in shameless, let's-get-this-thing-over-with style, throwing in some gratuitous topless (female) nudity and allowing the usually amusing Kristen Schaal to let loose with a barrage of potty-mouthisms.
    • 40 Metascore
    • 38 Steven Rea
    A pity-party of Hollywood narcissism.
    • 49 Metascore
    • 38 Steven Rea
    Art-directed within an inch of its life, Sleuth has the smirky gloss of a project that everyone involved with thinks is terribly good, and terribly clever. These people - Branagh, Pinter, Law and the usually great Caine (even in bad stuff) - are laboring under an epic misconception. Sleuth is just terrible.
    • 26 Metascore
    • 38 Steven Rea
    Basic Instinct 2 is supposed to help Stone show it's possible for a woman to be sexy in her late 40s. But it's Rampling - who is 60 - who comes off as the more provocative and alluring. Stone's purring, snarling, bedroom kink is embarrassing.
    • 45 Metascore
    • 38 Steven Rea
    A slasher spoof of sorts, except that unlike the "Scream" pics, scant effort seems to have gone into the spoofing aspect of the story.
    • 28 Metascore
    • 38 Steven Rea
    It's too gauzy, and - with its Ron Bass script - too goopy by half.
    • 14 Metascore
    • 38 Steven Rea
    Gets stupider as it moves along. By the end, you just don't care whether that cold-hearted snake Petrovich (that would be Reno) gets his comeuppance. Just bring on the Battle Bots, please!
    • 35 Metascore
    • 38 Steven Rea
    While this cheesy, heavy-metal melange of horror, space hooey and cowboy shoot-'em-ups isn't exactly dull, it isn't anything to write home about either.
    • 40 Metascore
    • 38 Steven Rea
    By the end of the film's two-hour stream of Be-Here-Now-isms, anyone left in the audience will be wanting to yell, "Put a sock in it!" to old Soc.
    • 33 Metascore
    • 38 Steven Rea
    Murderously unfunny.
    • 39 Metascore
    • 38 Steven Rea
    What a mess.
    • 35 Metascore
    • 38 Steven Rea
    Ostensibly a comedy, and a feeble and innocuous one at that, Post Grad is one of those what-were-they-thinking?
    • 36 Metascore
    • 38 Steven Rea
    Domino is less a movie than a hyperkinetic slide show - presented during a nuclear attack.
    • 39 Metascore
    • 38 Steven Rea
    A stagy, arty, and uncompelling account of the Welsh writer and his menage-y relations.
    • 31 Metascore
    • 38 Steven Rea
    An unintentional high-tech hoot.
    • Philadelphia Inquirer
    • 54 Metascore
    • 38 Steven Rea
    Feels stagy, stiff and entirely unnecessary.
    • 27 Metascore
    • 38 Steven Rea
    A bubble-brained comedy with as much bearing on the real world as a Pokemon cartoon.
    • Philadelphia Inquirer
    • 32 Metascore
    • 38 Steven Rea
    This is no "Raging Bull."
    • 39 Metascore
    • 38 Steven Rea
    What a mess.
    • 17 Metascore
    • 38 Steven Rea
    88 Minutes proves itself to be a maddeningly mediocre, ineptly manipulative "real-time" thriller.
    • 48 Metascore
    • 38 Steven Rea
    Like a grade-school version of an Indiana Jones adventure.
    • 50 Metascore
    • 38 Steven Rea
    Hoffman's turn as the drag queen has its endearing and comically catty moments, but Flawless' utter phoniness subsumes all efforts at honest acting.
    • 40 Metascore
    • 38 Steven Rea
    Feels like it's been homogenized and Hollywoodized to death.
    • 38 Metascore
    • 38 Steven Rea
    Laughably predictable and lamentably unfunny, Laws of Attraction practically creaks from the effort exerted by its cast, straining to bring snap and panache to a hackneyed exercise. Sno Ball, anyone?
    • 36 Metascore
    • 38 Steven Rea
    This low-budget, high-gore sequel can be effectively frightening at times, and just plain boring, too. The suspense builds, the blood gushes, the momentum dissipates. It's an unsatisfying mix.
    • 36 Metascore
    • 38 Steven Rea
    Painfully cute drama.
    • 35 Metascore
    • 38 Steven Rea
    Instead of paying homage to these creepy creatures of bygone Hollywood, Sommers seems to be unwittingly lampooning them. The first few minutes of Van Helsing, shot in black and white, look like outtakes from Mel Brooks' gagfest "Young Frankenstein."
    • 45 Metascore
    • 38 Steven Rea
    Another high school vixen movie, this one with a potty mouth (the vixen) and pretensions of social commentary (the movie), Pretty Persuasion brings to mind a number of other titles, all better.
    • 39 Metascore
    • 38 Steven Rea
    The film has been directed in a murky, rhythmless fashion by Niels Arden Oplev.
    • 36 Metascore
    • 38 Steven Rea
    This heavy-handed muddle of a cop thriller is just impossibly bad.
    • 50 Metascore
    • 38 Steven Rea
    Duplex's tenant-from-hell scenario is as predictable as it is tedious -- a tinny, unsatisfying throwaway farce.
    • 32 Metascore
    • 38 Steven Rea
    The film quickly turns unintentionally, and unrelentingly, awkward.
    • 42 Metascore
    • 38 Steven Rea
    It doesn't help any that Wahlberg, looking perpetually dumbstruck, is among the clunkiest line-readers working in movies today.
    • 29 Metascore
    • 38 Steven Rea
    Trapped between edgy art flick and exploitation psychothriller, The Quiet manages to be neither, and manages to be pretty awful in the bargain.
    • 38 Metascore
    • 38 Steven Rea
    The kind of glossy, Hollywood-forged waste of time that would depress even the most happily lackadaisical retiree.
    • 35 Metascore
    • 38 Steven Rea
    An embarassingly unfunny, stumblebum adaptation of Toby Young's memoir.
    • 32 Metascore
    • 38 Steven Rea
    A flat-out cynical attempt to launch a new Lethal Weapon-like franchise.
    • 20 Metascore
    • 38 Steven Rea
    Another tale of Tinseltown drugs, sex and excess - has transferred itself to the screen with mind-boggling, laugh-inciting horribleness.
    • 50 Metascore
    • 38 Steven Rea
    The violence is plenty, and pointless.
    • 14 Metascore
    • 38 Steven Rea
    Awesomely ridiculous thriller.
    • 44 Metascore
    • 38 Steven Rea
    Completely unappealing people.
    • 38 Metascore
    • 38 Steven Rea
    What Never Die Alone is is a hackneyed tale of vengeance set in the 'hood, teeming with stock characters, slo-mo gunplay, and rampant misogyny.
    • 33 Metascore
    • 38 Steven Rea
    A mercifully fleet and lamentably uninteresting adaptation of the DC Comic about a war-weary Confederate soldier.
    • 39 Metascore
    • 38 Steven Rea
    Often incomprehensible (a combination of jumpy editing and lots of thick British Isles accents) and hardly ever entertaining - even unintentionally.
    • 41 Metascore
    • 38 Steven Rea
    Unrelentingly grim, plodding, and close-to-incoherent adaptation of Tom Rob Smith's best-selling mystery.
    • 30 Metascore
    • 38 Steven Rea
    13 Ghosts is the type of project that all parties concerned will have to live down for the rest of their lives.
    • 41 Metascore
    • 38 Steven Rea
    In the annals of sequeldom, Kick-Ass 2 has to be one of the lamest follow-ups ever.
    • 41 Metascore
    • 38 Steven Rea
    Drawing comparisons to "The Wire" may be unfair, but taken on its own, this anemic vehicle for Ice Cube and Tracy Morgan to mug and jive through is just weak, weak stuff.
    • 42 Metascore
    • 38 Steven Rea
    Laughably bad adaptation of a Guy de Maupassant novel.
    • 28 Metascore
    • 38 Steven Rea
    Although there are several truly jolting scares, there's also an abundance of hackneyed dialogue and more silly satanic business than you can shake a severed limb at.
    • 24 Metascore
    • 38 Steven Rea
    The greatest lacrosse movie of the 21st century - and, unless I'm mistaken, the only lacrosse movie of the 21st century.
    • 42 Metascore
    • 38 Steven Rea
    Nostalgia for the '80s - big hair, Madonna, cocaine, big hair, Duran Duran, more cocaine - is all well and good. Unless it's practiced with the charmless ineptitude of Take Me Home Tonight.
    • 36 Metascore
    • 38 Steven Rea
    The sort of generic crime thriller - stick-figure characters, pointless muddle of plot, people entering and exiting SUVs and Lear jets with a sense of urgency - that feels like it could drag on forever, and drag us down into a purgatory of stupefaction with it.
    • 36 Metascore
    • 38 Steven Rea
    "The Godfather" without Brando, "GoodFellas" without Scorsese, "The Sopranos" without Gandolfini - 10th & Wolf is all that, and less.
    • 38 Metascore
    • 38 Steven Rea
    Williams, going full throttle as the desperate deposed kiddie icon Rainbow Ralph, is, well, simply exhausting.
    • 16 Metascore
    • 38 Steven Rea
    Dark and murky, grainy and grim.
    • 27 Metascore
    • 38 Steven Rea
    Catwoman, which talks about the "duality" inside all women (wild vs. docile, rapacious vs. cuddly), does have its guilty pleasures. Most of these come courtesy of ice queen Stone.
    • 40 Metascore
    • 38 Steven Rea
    Beastly offers a thoroughly dopey reread of the "Beauty and the Beast" fairy tale.
    • 38 Metascore
    • 38 Steven Rea
    An overblown hodgepodge of volcano-baked desertscapes, Egyptoid-gone-baroque architecture, and gladiator-geared storm troopers with goofy headpieces, The Chronicles of Riddick bears no resemblance to the movie that spawned its namesake.
    • 46 Metascore
    • 38 Steven Rea
    What distinguishes The Dilemma in this genre is its resounding unfunnyness, its emotional dishonesty, and the general unlikability of its cast of characters.
    • 31 Metascore
    • 38 Steven Rea
    Hobbled by a laughably bad script and a uniformly uncharismatic cast.
    • 29 Metascore
    • 38 Steven Rea
    Scary Movie 2 has something for potheads and the potty-mouthed alike. Anyone looking for a true sequel, however, will be disappointed.
    • 43 Metascore
    • 38 Steven Rea
    The Wolfman feels like a film reedited and reworked so many times it has lost all narrative rhythm and suspense.
    • 29 Metascore
    • 38 Steven Rea
    This unabashedly stupid comedy is, well, unabashedly stupid.
    • 41 Metascore
    • 38 Steven Rea
    This Romeo and Juliet is hard to take seriously - and simply hard to take.
    • 37 Metascore
    • 38 Steven Rea
    How to count the ways that Be Cool isn't? For one thing, it looks terrible: grainy, ill-lit, edited with blunt, rusty shears.
    • 36 Metascore
    • 38 Steven Rea
    Serena is one long eye-roll of calamities and corn.
    • 43 Metascore
    • 38 Steven Rea
    This tale of a white mother's kid gone missing in a black New Jersey neighborhood - and the tensions and news media attention that ensue - is pretty much pure jive.
    • 43 Metascore
    • 38 Steven Rea
    With the raunch quotient cranked up several notches, the sequel is calculated, cynical and, worse, not funny.
    • 44 Metascore
    • 38 Steven Rea
    Entertainingly goofy for about 30 minutes. And then, for the next two hours-plus, it's agony.
    • 47 Metascore
    • 38 Steven Rea
    Apocalyptically awful romantic comedy.
    • 30 Metascore
    • 38 Steven Rea
    Parents in a masochistic mood can compound the headache-inducing experience by paying extra for the 3-D version.
    • 24 Metascore
    • 38 Steven Rea
    Where the first pic breezed along with gags and gunplay, this forced follow-up is artificial to the hilt - fueled on a kind of trying-too-hard hilarity that makes even good actors look bad.
    • 21 Metascore
    • 38 Steven Rea
    It's getting tiresome, this stuff.
    • Philadelphia Inquirer
    • 45 Metascore
    • 38 Steven Rea
    An unfortunate collision of earnest coming-of-age cliches and off-key acting, Evergreen almost, and certainly unintentionally, presents itself as parody.
    • 45 Metascore
    • 38 Steven Rea
    If the moral of Click is a stop-and-smell-the-roses bromide about how family comes first, the real message of this sappy, potty-mouthed seriocomedy is that a steady diet of Drakes and Hostesses will do you no good.
    • 40 Metascore
    • 38 Steven Rea
    There's nothing remotely fantastic about this Fantastic Four.
    • 20 Metascore
    • 38 Steven Rea
    Just a big chunk of waste flushed from a Hollywood studio.
    • Philadelphia Inquirer
    • 47 Metascore
    • 38 Steven Rea
    Essentially a series of walking character sketches. The storytelling is slack and lackluster, the cliches rampant.
    • 32 Metascore
    • 38 Steven Rea
    The ads for The Sweetest Thing promise that if you loved "There's Something About Mary" and "My Best Friend's Wedding," then you can't miss this latest Cameron Diaz vehicle. Well, miss it.
    • 27 Metascore
    • 38 Steven Rea
    Mike Myers, responsible for the picture's one, or possibly two, laughs.
    • 53 Metascore
    • 38 Steven Rea
    A fairly dreadful melodrama drenched in self-pity.
    • 28 Metascore
    • 38 Steven Rea
    Cage appears as a knight of the Crusades, slogging across the continents, slaying infidels and unbelievers and anyone else who gets in his way. There isn't a minute when it looks like he's having fun.
    • 58 Metascore
    • 38 Steven Rea
    Icky, incoherent thriller.
    • 17 Metascore
    • 38 Steven Rea
    Struggles mightily to find its loony essence. But Bullock's apple-cheeked larkishness is all flailing limbs and bug-eyed reaction shots - there's no there there. Cooper's character is woefully underwritten, Church's is yet another vain anchorman-wannabe cartoon.
    • 38 Metascore
    • 25 Steven Rea
    Full of kerplunkingly unfunny jokes and ex-"Saturday Night Live" cast members turning up to do shtick.
    • 12 Metascore
    • 25 Steven Rea
    Totally lame.
    • 37 Metascore
    • 25 Steven Rea
    The cast, especially The Game, does a fairly good job with this meager material, but it's like trying to make chateaubriand out of Spam.
    • 51 Metascore
    • 25 Steven Rea
    Has to be one of the nuttiest, sappiest (literally), most unintentionally hilarious spectacles to come down the time-travel turnpike in eons.
    • 37 Metascore
    • 25 Steven Rea
    An astoundingly senseless thriller.
    • 47 Metascore
    • 25 Steven Rea
    Cross "Get Shorty" with "State and Main" - Hollywood hustlers, colorful crooks, crafty poseurs, and a production crew on location - and you have the stuff of The Last Shot. One other thing: eliminate anything funny.
    • 38 Metascore
    • 25 Steven Rea
    I nodded off watching Just Visiting.
    • Philadelphia Inquirer
    • 51 Metascore
    • 25 Steven Rea
    Maybe, you think, there is something daring and brilliant going on here: an excursion into the darkest territories of the human soul. But no. In the end -- or the beginning -- there is no point to all this. Or at least not a point worth making, and making us watch.
    • 20 Metascore
    • 25 Steven Rea
    About as not-funny as a comedy can get.
    • 44 Metascore
    • 25 Steven Rea
    This movie feels like it has a million jokes, and every single one arrives with a lethal thud.
    • 37 Metascore
    • 25 Steven Rea
    Connoisseurs of giant, gnarled chunks of charred flesh, rejoice! There's plenty of it -- or stuff resembling it -- in the slasher-fest convergence of two killer franchises.
    • 48 Metascore
    • 25 Steven Rea
    The thing about stoner comedy is that, well, it helps to be stoned.
    • 38 Metascore
    • 25 Steven Rea
    A forced-march comedy.
    • 18 Metascore
    • 25 Steven Rea
    Affleck, for his part, behaves as if a Zero from "Pearl Harbor" dropped one too close to his noggin. He looks permanently shell-shocked.
    • 25 Metascore
    • 25 Steven Rea
    A syrup-thick New Age ghost story of the same sappy stripe and mawkishness as another Costner foray, "Message in a Bottle."
    • 40 Metascore
    • 25 Steven Rea
    A lazy assemblage of sketch-comedy raunch, mock-schlock TV ads, and ideas that even the writers of "Mall Cop" and "Observe and Report" would have tossed.
    • 49 Metascore
    • 25 Steven Rea
    I'm ripping up my Lars Von Trier fan club card.
    • 25 Metascore
    • 25 Steven Rea
    Contrived story lines and an altogether phony resolution erase whatever energy and wit the film displayed, leaving the viewer with an empty, disappointed feeling.
    • 36 Metascore
    • 25 Steven Rea
    The whole affair has a painfully self-conscious, self-referential air. Jokes land with a thud, and so, alas, does Rocky, who seems to have forgotten how to fly.
    • Philadelphia Inquirer
    • 22 Metascore
    • 25 Steven Rea
    A lethargic, lurching holiday-themed comedy.
    • 27 Metascore
    • 25 Steven Rea
    What a stupefying thing it is.
    • 36 Metascore
    • 25 Steven Rea
    8 1/2 Women is a collage-y, self-reflexive sort of film that is designed to shock but more often just annoys.
    • Philadelphia Inquirer
    • 20 Metascore
    • 25 Steven Rea
    Little kidniks with an appetite for zap-pow silliness might find this to their liking. Everyone else, beware.
    • 28 Metascore
    • 25 Steven Rea
    I could make a joke here about the new Pokemon movie.
    • 19 Metascore
    • 25 Steven Rea
    Long, lumbering and endlessly unfunny.
    • 33 Metascore
    • 25 Steven Rea
    A stale and stupid thriller.
    • 47 Metascore
    • 25 Steven Rea
    No one is getting at anything in The Strangers, except the cheapest, ugliest kind of sadistic titillation.
    • 52 Metascore
    • 12 Steven Rea
    Somnambulistic pacing, kerplunkingly unfunny jokes, and mugging thespians making fools of themselves. Truly torturous spectacle.
    • 57 Metascore
    • 12 Steven Rea
    The movie heads in a disastrous direction: namely, a police academy ceremony... This lets-wrap-this-thing-up moment sucks the life and the honesty out of an otherwise compelling portrait of tainted lawmen, tainted law.
    • 24 Metascore
    • 12 Steven Rea
    Reaches breathtaking lows of incoherence, sexism, racial stereotyping, and -- did I say incoherence?
    • 12 Metascore
    • 12 Steven Rea
    Slackers is, well, consummately cheesy. Ugh.
    • Philadelphia Inquirer
    • 34 Metascore
    • 0 Steven Rea
    Has to be among the worst movies ever made.
    • 14 Metascore
    • 0 Steven Rea
    As far as director Nicole Kassell and writer Gren Wells are concerned, the C in Big C must stand for cute. The film reaches into the pits of moviegoing hell when it finds Marley on a celestial white couch, ringed in billowing white curtains, communing with God. And God is embodied by Whoopi Goldberg.

Top Trailers