For 1,662 reviews, this critic has graded:
  • 72% higher than the average critic
  • 2% same as the average critic
  • 26% lower than the average critic
On average, this critic grades 10.4 points higher than other critics. (0-100 point scale)

Steven Rea's Scores

  • Movies
Average review score: 69
Highest review score: 100 Fantastic Mr. Fox
Lowest review score: 0 A Little Bit of Heaven
Score distribution:
1,662 movie reviews
    • 50 Metascore
    • 63 Steven Rea
    Flipping his cigarette lighter and snapping deadpan retorts, Reeves plays the demon-hunting detective with Keanu-esque panache.
    • 50 Metascore
    • 63 Steven Rea
    Little White Lies wants to capture something momentous and meaningful in these people's lives. But ultimately it's hard to care.
    • 50 Metascore
    • 75 Steven Rea
    Dedication works anyway, thanks to Theroux's jumping visuals and Crudup's jumpy performance.
    • 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.
    • 50 Metascore
    • 38 Steven Rea
    Duplex's tenant-from-hell scenario is as predictable as it is tedious -- a tinny, unsatisfying throwaway farce.
    • 50 Metascore
    • 75 Steven Rea
    Birth makes its oddball supernaturalism seem completely, compellingly real.
    • 50 Metascore
    • 38 Steven Rea
    The violence is plenty, and pointless.
    • 50 Metascore
    • 63 Steven Rea
    It says in the beginning of the film that Two for the Money is "inspired by a true story." Problem is, it's just not that inspired.
    • 50 Metascore
    • 75 Steven Rea
    Aniston and Zahn are sweet together - their respective characters have built up psychic armor to keep the outside world at bay, and each breaks down the other's in revealing ways.
    • 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
    • 63 Steven Rea
    Gretchen Mol stars as a 35-year-old virgin deflowered in lusty romance-novel fashion on a trip to Mexico. Her hunky lover-boy's name? Jesus Christ (played by Justin Theroux). The segment? "Thou shalt not take the Lord's name in vain."
    • 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
    There's nothing hip or ironic about Poseidon, which makes Russell and Lucas the perfect leading men.
    • 50 Metascore
    • 63 Steven Rea
    There's a great movie out now about magicians, sleight-of-hand maestros, illusionists, card and coin tricksters. Now You See Me is not that movie.
    • 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.
    • 50 Metascore
    • 50 Steven Rea
    Flat and predictable.
    • 50 Metascore
    • 63 Steven Rea
    Neither fish nor fowl (nor extraterrestrial), and that's a problem. Craig, handsomely craggy, plays it straight, and like Eastwood's Man With No Name, he doesn't have much to say.
    • 49 Metascore
    • 75 Steven Rea
    Simplistic and jingoistic. But it's also explosively fun.
    • 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
    • 63 Steven Rea
    A testosterone-fueled road movie that displays the same Apatow-ian obsessions, and raunch, as "Pineapple Express," "Superbad," and "The 40-Year-Old Virgin."
    • 49 Metascore
    • 75 Steven Rea
    For all its flaws, offers an enjoyable look at the machinations of moviedom and fame, and a look into a future where what is real and what isn't becomes scarily blurred.
    • 49 Metascore
    • 38 Steven Rea
    Tobey Maguire, terribly miscast and squeaky (that voice - it belongs to a kid!).
    • 49 Metascore
    • 88 Steven Rea
    Filled with bleak, beautiful Hopperesque tableaus and strange characters whose lives intersect.
    • 49 Metascore
    • 75 Steven Rea
    Burns' movie shows a Woody.esque affection for a certain slice of New York and its denizens (with the angst and neuroses quieted down a notch or two).
    • 49 Metascore
    • 75 Steven Rea
    Is Final Fantasy decent sci-fi? Yes, more than decent.
    • 49 Metascore
    • 63 Steven Rea
    In some ways, American Reunion is the Charlize Theron indie "Young Adult" all over again: In both, a small-town high school reunion is the setting for a lot of nostalgia and narcissism and nasty behavior.
    • 49 Metascore
    • 75 Steven Rea
    For sheer audacity and adrenaline-fueled carnage, Shoot 'Em Up hits its target pretty much dead on.
    • 49 Metascore
    • 75 Steven Rea
    Wahlberg does what Wahlberg does, bringing muscular conviction to his troubled, tough-guy role. The city may be broken, but the movie star's formula is working fine.
    • 49 Metascore
    • 75 Steven Rea
    Too long (and it sure ain't taut), but it brims with passion.
    • 49 Metascore
    • 50 Steven Rea
    It isn't frightening. Sometimes, in fact, it's laughable.
    • 49 Metascore
    • 88 Steven Rea
    A rollicking tale of rehabilitation and redemption, rife with cool special effects, Hancock is smart and surprisingly raunchy.
    • 49 Metascore
    • 25 Steven Rea
    I'm ripping up my Lars Von Trier fan club card.
    • 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.
    • 49 Metascore
    • 75 Steven Rea
    MacDowell brings an absolutely riveting conviction to her role. She's strong stuff in a movie that is likewise gripping and powerful.
    • 49 Metascore
    • 75 Steven Rea
    Boasts exciting competitive track cycling footage.
    • 49 Metascore
    • 63 Steven Rea
    An atmospheric Argentine thriller starring Viggo Mortensen in twin roles (literally), Everybody Has a Plan is in the vein of, if not on the same plane as, Michelangelo Antonioni's "The Passenger."
    • 49 Metascore
    • 63 Steven Rea
    Everything about An Unfinished Life's screenplay is cliched and predictable, but the actors manage to elevate the proceedings above and beyond shameless soap.
    • 49 Metascore
    • 75 Steven Rea
    May not be great cinema, but it nonetheless deserves attention.
    • 49 Metascore
    • 50 Steven Rea
    Utterly charmless - there's not even a glimmer.
    • 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.
    • 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.
    • 49 Metascore
    • 75 Steven Rea
    Scary Movie 3 is a veritable time capsule of of-this-moment kitsch, schlock and bad taste. And it's funny, too.
    • 49 Metascore
    • 75 Steven Rea
    It is at once inspiring and troubling.
    • 48 Metascore
    • 63 Steven Rea
    What's maddening about Angel-A is that Besson is so brilliant with his visuals - and so in love with his two leads and the city they're parading around - that you desperately want the story, and the characters, to make some kind of emotional sense. This, however, does not happen.
    • 48 Metascore
    • 63 Steven Rea
    Black Nativity offers a whopping serving of Yuletide emotion. And it's a musical - with plenty of wailing and rapping on the side.
    • 48 Metascore
    • 75 Steven Rea
    A conventional, button-pushing but emotionally affecting tale.
    • 48 Metascore
    • 75 Steven Rea
    The spike-heeled, postfeminist pajama-party sisterhood that is Charlie's Angels is back, and it's serious dress-up time.
    • 48 Metascore
    • 50 Steven Rea
    Virtually every set-up and set-piece in this extravagantly tedious adventure is misleading, or worse, irrelevant.
    • 48 Metascore
    • 50 Steven Rea
    Eva Longoria brings a crisp swagger and fluent Spanish to her role.
    • 48 Metascore
    • 75 Steven Rea
    Although the story has more than a little Lion King deja vu-doo going for it, Kenai (voiced by Joaquin Phoenix) is likable as both a man, and then a bear.
    • 48 Metascore
    • 50 Steven Rea
    A TV-movie-ish love story laden with heavy-handed metaphor... The Theory of Flight is feeble stuff.
    • 48 Metascore
    • 50 Steven Rea
    It's simplistic and reactionary and designed to get hearts pumping but not minds thinking.
    • 48 Metascore
    • 63 Steven Rea
    McCarthy's screenplay, a tangle of doublecrosses and dead men, has just been published. Those who really want to know what's going on would be advised to buy a copy.
    • 48 Metascore
    • 63 Steven Rea
    This is the slightest and slimmest of sex comedies.
    • 48 Metascore
    • 63 Steven Rea
    Its grossness knows no bounds, and you'd have to be dead not to laugh.
    • 48 Metascore
    • 50 Steven Rea
    Chicken Little is entirely lacking in anything "Disneyesque."
    • 48 Metascore
    • 75 Steven Rea
    21
    21 makes for some slick escapist fantasy. Even if, and because, the fantasy has its roots in something real.
    • 48 Metascore
    • 50 Steven Rea
    Has the disjointed feel of a bunch of strung-together TV episodes.
    • 48 Metascore
    • 75 Steven Rea
    In the end, you just feel good about these people, and that's a nice sensation these days.
    • 48 Metascore
    • 75 Steven Rea
    The Core is unabashed Hollywood spectacle, but with a cast of up-from-indie actors that makes the cataclysmic kitsch all the more fun to behold.
    • 48 Metascore
    • 75 Steven Rea
    The movie is hipper than its L.A. establishment credentials would suggest.
    • 48 Metascore
    • 25 Steven Rea
    The thing about stoner comedy is that, well, it helps to be stoned.
    • 48 Metascore
    • 63 Steven Rea
    Lockout is genre all the way. The film wears its colors proudly, but it also, alas, wears out its welcome.
    • 48 Metascore
    • 88 Steven Rea
    A meditation on a life lived in the public eye, I'm Still Here is strange, riveting, and occasionally appalling stuff, any way you look at it.
    • 48 Metascore
    • 75 Steven Rea
    Comes across as gratifying, not grating: the same way the familiarity of a well-crafted whodunit is part of the book's pleasures.
    • 48 Metascore
    • 63 Steven Rea
    A campy homage to those days of malt shops, drive-ins, and saucer-shaped UFOs - you know, the ones that go crashing into nearby buttes, unleashing terrible terrors from another galaxy.
    • 48 Metascore
    • 75 Steven Rea
    The real reason to see this slight but interesting documentary is to watch and listen to the radiant Aury.
    • 48 Metascore
    • 75 Steven Rea
    Aimed at tweenage girls and mushy romantics of all age and stripe, Penelope has a quick gait and a nice comic tone.
    • 48 Metascore
    • 63 Steven Rea
    Admission works in stops and starts.
    • 48 Metascore
    • 75 Steven Rea
    Lacks the visceral sweep of "Saving Private Ryan." But Spielberg's story, for all its gut-wrenching intensity, was a fiction. Dahl's movie, slower in pace and conscious of its own artifice, addresses the same issues of courage and sacrifice - and tells a true story. That's worth something. In fact, it's worth a lot.
    • 48 Metascore
    • 38 Steven Rea
    Like a grade-school version of an Indiana Jones adventure.
    • 48 Metascore
    • 50 Steven Rea
    xXx
    Less a movie than a collection of pretty cool action set-pieces, linked together with some seriously awful acting and dialogue that even Dr. Evil couldn't deliver with a straight face.
    • 48 Metascore
    • 63 Steven Rea
    Although the sequel retains its predecessor's breezy retro spirit, The Mummy Returns is a mite darker and scarier and the effects a little spiffier.
    • 47 Metascore
    • 50 Steven Rea
    What are you going to do when your lead actress offers a performance that's as unlikable as the woman she's portraying? Maybe it's the script (flimsy, formulaic), or filmmaker Alejandro Gomez Monteverde's conspicuous direction, but Tammy Blanchard's Nina, a waitress with a dour disposition and an unwanted pregnancy, pretty much sucks the life out of this well-meaning melodrama.
    • 47 Metascore
    • 63 Steven Rea
    A mild and merry romp about family, friends and sexual identity.
    • 47 Metascore
    • 75 Steven Rea
    A winner.
    • 47 Metascore
    • 50 Steven Rea
    The film's intimations of bisexual romance have a certain innate drama that no amount of bad acting or cornball rugby matches can completely erase.
    • 47 Metascore
    • 63 Steven Rea
    As scripted by Cathy Rabin and directed by Santosh Sivan, Before the Rains is never less than compelling, but never more than adequately realized.
    • 47 Metascore
    • 38 Steven Rea
    Apocalyptically awful romantic comedy.
    • 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
    • 63 Steven Rea
    A raunchy comedy that's funnier to think about than to watch.
    • 47 Metascore
    • 50 Steven Rea
    Dull plod.
    • 47 Metascore
    • 50 Steven Rea
    If illuminating dawns and dusks had basked Mia Wasikowska and Henry Hopper in a rosy glow, the mopey cuteness of Restless would have been too much to bear.
    • 47 Metascore
    • 50 Steven Rea
    Shot like a Disney period piece (prettily, with spiffy props, shiny vintage vehicles, and costumes just back from the cleaners), Flyboys introduces its squadron the old-fashioned way: with character-establishing setups.
    • 47 Metascore
    • 63 Steven Rea
    While Choke, adapted for the screen and directed by Clark Gregg, is by no means a disaster, it is disappointing - and oddly dull.
    • 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.
    • 47 Metascore
    • 50 Steven Rea
    A knuckleheaded period piece.
    • 47 Metascore
    • 63 Steven Rea
    Despite its haunting artistry and its winning eccentricities, The Shipping News is a vehicle that's still very much at sea.
    • 47 Metascore
    • 63 Steven Rea
    An entertaining history lesson. That is, a history lesson that synopsizes and simplifies a complex life and complicated times into easily digestible panels of action, intrigue, martyrdom and sticking it to the papacy.
    • 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.
    • 47 Metascore
    • 63 Steven Rea
    Never mind the cool, convincing effects (and they are cool), The Day After Tomorrow teems with illogical action, improbable coincidences. It's pure escapist fare, a popcorn gobbler.
    • 47 Metascore
    • 25 Steven Rea
    No one is getting at anything in The Strangers, except the cheapest, ugliest kind of sadistic titillation.
    • 47 Metascore
    • 50 Steven Rea
    A syrupy and extraordinarily ridiculous adaptation.
    • 47 Metascore
    • 50 Steven Rea
    It is a good hour too long, although it does boast Christopher Walken.
    • 47 Metascore
    • 38 Steven Rea
    Essentially a series of walking character sketches. The storytelling is slack and lackluster, the cliches rampant.
    • 47 Metascore
    • 63 Steven Rea
    Stylishly spooky and featuring a hammy, cigarette-sucking performance from Gena Rowlands.
    • 47 Metascore
    • 75 Steven Rea
    There's enough here to entertain - and gross out - the kiddie crowd, and parental units, too
    • 47 Metascore
    • 63 Steven Rea
    A jukebox musical that's astonishingly cornball one minute, winkingly sardonic the next.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 75 Steven Rea
    Hickernell's film aesthetic is straightforward, narrative-driven.
    • 47 Metascore
    • 75 Steven Rea
    Ambiguous in a satisfying, puzzling sort of way, November offers a triptych of scenarios revolving around a grim moment.
    • 47 Metascore
    • 50 Steven Rea
    Ultimately, 44 Inch Chest has very little on its mind.
    • 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.
    • 46 Metascore
    • 50 Steven Rea
    Around the Bend doesn't inspire one to care.
    • 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.
    • 46 Metascore
    • 63 Steven Rea
    An international caper with James Bond and Tom Clancy overtones - and Austin Powers undertones, too.
    • 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.
    • 46 Metascore
    • 63 Steven Rea
    There isn't a real, flesh-and-blood figure in the bunch. Everything about Red Tails - the breaking down of racial barriers, the military achievements, the courage and sacrifice - is diminished in the process.
    • 46 Metascore
    • 63 Steven Rea
    Lightweight, likable buppie romantic comedy.
    • 46 Metascore
    • 63 Steven Rea
    As a thriller, In the Cut, with its red herring characters and plot twists, turns dopey and predictable. As a portrait of a single woman, burned by love and wary of what's in store, Campion's movie has its trenchant, telling passages.
    • 46 Metascore
    • 50 Steven Rea
    Satire should be knife-sharp and whip-smart, and The Nanny Diaries never is.
    • 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.
    • 46 Metascore
    • 63 Steven Rea
    Occasionally clicks into full-speed farce mode, but never for long - or for long enough.
    • 46 Metascore
    • 75 Steven Rea
    Bloody, bone-chilling fun.
    • 46 Metascore
    • 50 Steven Rea
    McKellen, Hanks and Tautou - and Alfred Molina, as a bishop with an agenda - are no slouches when it comes to emoting, but screenwriter Goldsman's rigorously faithful interpretation of Brown's flatfooted prose stylings is the filmic equivalent of putting big chewy baguettes in the actors' maws.
    • 46 Metascore
    • 50 Steven Rea
    It's a big stuffed turkey of a movie, just in time for the holidays.
    • 46 Metascore
    • 75 Steven Rea
    The picture uses humor and a heartfelt conviction to tell a story about discovering your destination in life.
    • 46 Metascore
    • 75 Steven Rea
    Diaz works that trademark mix of ditziness, sexiness, and brassiness.
    • 46 Metascore
    • 63 Steven Rea
    This In-Laws feels, in the end, formulaic and unnecessary, especially when the original is yours for the renting at the video store.
    • 46 Metascore
    • 75 Steven Rea
    The Farrellys manage to have their cake and scarf it down, disgustingly, too.
    • 46 Metascore
    • 63 Steven Rea
    Boasts exceedingly high levels of improbability and an embarrassment of continuity and character shortfalls, but still has a certain bubbleheaded charm.
    • 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.
    • 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.
    • 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."
    • 45 Metascore
    • 63 Steven Rea
    Hoodwinked may be a poor cousin to the Shrek franchise, but this made-on-the-cheap computer-animated feature still has more style and snarky gags than Disney's recent CG hit, "Chicken Little."
    • 45 Metascore
    • 63 Steven Rea
    It's "The Deep" reimagined as an Abercrombie catalog.
    • 45 Metascore
    • 50 Steven Rea
    Shows glimmers of great drama, but jettisons too much essential cargo (character development, relationships, plot, common sense) in an effort to be lean and clean.
    • 45 Metascore
    • 63 Steven Rea
    Mostly about delivering thrills, and chills, and this it does with moderate success and a bunch of fast, no-nonsense edits.
    • 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."
    • 45 Metascore
    • 75 Steven Rea
    Easily one of the loosest, most satisfying comedies to hail from the prolific writer/director in a while.
    • 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.
    • 45 Metascore
    • 75 Steven Rea
    Entertainingly creepy.
    • 45 Metascore
    • 63 Steven Rea
    Elevated beyond its cutesy contrivances and mawkishness by some extraordinarily good performances.
    • 45 Metascore
    • 63 Steven Rea
    A modest and obviously heartfelt endeavor.
    • 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
    • 63 Steven Rea
    Frankly, the wow factor isn't that great.
    • 45 Metascore
    • 75 Steven Rea
    The Paperboy is over-the-top every which way you look.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Steven Rea
    Gritty, jumpy and rife with cliches.
    • 45 Metascore
    • 50 Steven Rea
    The moral of Taken 2? If you're going on a family vacation, be sure that the human-trafficking ring you put out of business in that far more satisfying and suspenseful thriller from a few years ago doesn't know how to find you.
    • 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.
    • 45 Metascore
    • 63 Steven Rea
    Visually dazzling but ultimately dizzying ride, a trippy suspenser that gets tripped up on its own deja vu voodoo.
    • 45 Metascore
    • 63 Steven Rea
    The Situation deserves credit for not trying to reduce the events in Iraq to facile equations. There is corruption and cynicism on all sides: the U.S. diplomats and military, the Sunni leaders, the thugs in cop uniforms, the local powerbrokers.
    • 45 Metascore
    • 50 Steven Rea
    For its amusing premise, Fanboys is scarily flat.
    • 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.
    • 45 Metascore
    • 63 Steven Rea
    One moment it's farcical comedy, the next it's gruesome melodrama. The movie never finds the right tone.
    • 45 Metascore
    • 63 Steven Rea
    For soccer aficionados, Kicking & Screaming boasts some fairly cool play, courtesy of Alessandro Ruggiero and Francesco Liotti, two kids who play "the Italians."
    • 45 Metascore
    • 50 Steven Rea
    Hesher has its genuinely affecting scenes, but too much of the time it feels false and shallow.
    • 45 Metascore
    • 63 Steven Rea
    Someone should check Joe Carnahan for performance enhancement drugs. Smokin' Aces, the wild ride of a movie he scripted and directed, is so pumped up, manic and mayhem-packed that it practically shoots sweat off the screen.
    • 45 Metascore
    • 88 Steven Rea
    A likably energetic star vehicle for English sports god Vinnie Jones.
    • 45 Metascore
    • 50 Steven Rea
    The trailers already have given away the "surprise" cameos in The Expendables, so try not to blink when Stallone goes into a church (shades of John Woo) to meet his mystery boss, played by a bald-pated, trademark smirking Bruce Willis.
    • 45 Metascore
    • 50 Steven Rea
    There's nothing Disneyesque about this bomb except the forced levity of its musical score.
    • 45 Metascore
    • 75 Steven Rea
    Directed by Clark Johnson in an efficient and occasionally exhilarating style that points to the Emmy-winner's TV cop-show pedigree ("Homicide," "The Wire," "NYPD Blue").
    • 45 Metascore
    • 63 Steven Rea
    A meditation on guilt, remorse and redemption -- is unrelentingly heavy.
    • 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.
    • 44 Metascore
    • 63 Steven Rea
    Krueger's comedy doesn't always spark, but its underlying intelligence - not to mention Graham's eyes - shines through.
    • 44 Metascore
    • 50 Steven Rea
    Feels thoroughly canned.
    • 44 Metascore
    • 38 Steven Rea
    Completely unappealing people.
    • 44 Metascore
    • 63 Steven Rea
    Echoing the lessons learned from "HAL in 2001: A Space Odyssey," the message of Transcendence is that computers should not be allowed to become sentient.
    • 44 Metascore
    • 75 Steven Rea
    Delivery Man, with its democratic band of half-siblings and its feel-good view of humankind, is what it is: a reproductive remake that will make you laugh. More than once or twice.
    • 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.
    • 44 Metascore
    • 75 Steven Rea
    Watts, who is one of the film's executive producers, brings a taut intelligence to the proceedings, but her character, like Roth's, is more archetype than actual person.
    • 44 Metascore
    • 50 Steven Rea
    A creaky, cliched, feel-good family drama about learning to stop and smell the roses - and planting a vegetable garden while you're at it - Uncle Nino is shameless, sappy fare.
    • 44 Metascore
    • 63 Steven Rea
    An innocuously smutty road comedy.
    • 44 Metascore
    • 50 Steven Rea
    Cute, cloying and catastrophically predictable.
    • 44 Metascore
    • 38 Steven Rea
    Entertainingly goofy for about 30 minutes. And then, for the next two hours-plus, it's agony.
    • 44 Metascore
    • 63 Steven Rea
    Jobs is a just-the-facts - and fiddling-with-the-facts - dramatization, forgoing any kind of deeper psychological exploration of the man and his motivations, his demons and dreams.
    • 44 Metascore
    • 63 Steven Rea
    Illuminated by dim candles and the rare glimmer of sun, the movie is grainy, closed-in, and likely to cause spasms of claustrophobia.
    • 44 Metascore
    • 50 Steven Rea
    The script is boilerplate, the wit pretty much witless.
    • 44 Metascore
    • 50 Steven Rea
    Dizzyingly incoherent and subversively surreal, this sophomore effort from the man who made the great, strange "Donnie Darko" is certain to have its fans. I'm not going to be one of them.
    • 44 Metascore
    • 63 Steven Rea
    Christopher Walken has the best moments in the whole thing, portraying the wacked-out auteur of the Gwen-and-Eddie vehicle. Sadly, he's only in America's Sweethearts a few hilarious minutes.
    • 44 Metascore
    • 63 Steven Rea
    The best reason to see Along Came Polly is the supporting cast.
    • 44 Metascore
    • 50 Steven Rea
    Loaded with careening car chases and rooftop runs, glass-shattering shootouts and exploding fireballs, Killer Elite offers more than enough to keep action junkies happy.
    • 43 Metascore
    • 50 Steven Rea
    Think Jerry Lewis doing Eminem, or maybe it's Eminem doing Jerry Lewis (or maybe it's Pauly Shore doing Vanilla Ice), and you've got B-Rad.
    • 43 Metascore
    • 63 Steven Rea
    What Eagle Eye wants to do is show us technology's dark side: all the stuff that's there to make our lives easier - ATMs, PDAs, iPods, GPS, cell phones, PCs, "smart" houses - turned against us in a vast conspiracy.
    • 43 Metascore
    • 75 Steven Rea
    "Lousy times make lousy people," someone opines, and maybe that's the point Romero's trying to drive home.
    • 43 Metascore
    • 75 Steven Rea
    A comedy about friendship, faith and the acting life, Le Grand Role is unabashedly corny and tear-jerking - and still quite likable.
    • 43 Metascore
    • 63 Steven Rea
    This violently comic caper has some spunky charm going for it -- but has a lot of self-consciously hip, studied wackiness going against it.
    • 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.
    • 43 Metascore
    • 63 Steven Rea
    It's the emotional equivalent of a big shrug.
    • 43 Metascore
    • 63 Steven Rea
    Ready-made for Valentine's Day, The Vow is, like the offerings at Cafe Mnemonic, a total sugar overload.
    • 43 Metascore
    • 63 Steven Rea
    Forte and company have managed to make crude and lewd dunderheadedness laugh-out-loud funny here and there, and that, I guess, is something of an achievement.
    • 43 Metascore
    • 38 Steven Rea
    With the raunch quotient cranked up several notches, the sequel is calculated, cynical and, worse, not funny.
    • 43 Metascore
    • 63 Steven Rea
    Whether he's smacking into an iceberg or flopping topless onto a sandy beach, DiCaprio is still maddeningly lightweight.
    • 43 Metascore
    • 63 Steven Rea
    Strip away the video-game visual effects, the endless chases and zero gravity shootouts, and Total Recall comes down to this: What is reality?
    • 43 Metascore
    • 63 Steven Rea
    There are chases that feel way too long, and dialogue that feels flat. Affleck and Thurman make a handsome duo, but there's no spark between the actors.
    • 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.
    • 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
    • 63 Steven Rea
    There's a sign on the way into Norway, or at least a sign that somebody from the film crew put up: "On the eighth day, God created baseball." If amen is your answer to that, then The Final Season is the movie for you.
    • 43 Metascore
    • 63 Steven Rea
    Laced with a venomous wit, and turning progressively creepier as it unfolds, writer-director Jon Reiss' movie offers a black-humored study of suppressed rage, sexual gamesmanship, domination and subordination.
    • 43 Metascore
    • 63 Steven Rea
    With visual nods to Stanley Kubrick's "The Shining" and a fairly faithful adherence to the tenor and tone of the Korean scare genre, The Uninvited doesn't startle and shock so much as it lulls you into a series of unsettling, hallucinogenic set pieces.
    • 43 Metascore
    • 50 Steven Rea
    A noisy, not particularly charming collection of skits and skirmishes.
    • 43 Metascore
    • 50 Steven Rea
    By the end of Machine Gun Preacher, its title character has become a cartoon.
    • 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?
    • 43 Metascore
    • 63 Steven Rea
    Taylor Hackford directs crisply, unpretentiously. Patti LuPone goes Latina, playing Lopez's soap opera-addicted mom, and Bobby Cannavale is a Palm Beach cop with an eye for Leslie. The action is fast and furious.
    • 43 Metascore
    • 50 Steven Rea
    To say that The Grace Card piles it on is an understatement of profound dimensions.
    • 43 Metascore
    • 75 Steven Rea
    The title Brooklyn's Finest is drowning in irony, of course, but Fuqua's moves are less obvious: His film is classical and gritty, his violence makes you want to duck and run.
    • 43 Metascore
    • 63 Steven Rea
    Somewhat fleeter and more engaging than its predecessor.
    • 43 Metascore
    • 63 Steven Rea
    Offers a gripping mix of sexual heat and nasty menace. It's "Dead Calm" meets "Very Bad Things," with English accents.
    • 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.
    • 42 Metascore
    • 75 Steven Rea
    The film, in its early going, also has a nice light humor about it, and an engaging, albeit tragic, love story.
    • 42 Metascore
    • 50 Steven Rea
    Doesn't take itself seriously, and that's a good thing.
    • 42 Metascore
    • 63 Steven Rea
    Grisly stuff. The movie, shot in Australia with an Aussie and British cast, makes "127 Hours" look like a walk in the park.
    • 42 Metascore
    • 63 Steven Rea
    Barnz tries, at least a bit, to acknowledge the heroic and historic legacy of the union movement and its rightful place in the contemporary labor landscape. But much of the blame for the sorry state of Adams Elementary, and the school system at large, is placed at the union's feet.
    • 42 Metascore
    • 63 Steven Rea
    Brought to the screen with a mix of jaunty humor and jagged violence that should have worked more effectively than it does.
    • 42 Metascore
    • 63 Steven Rea
    Trade comes off like TV-movie sensationalism, sidetracked by distracting backstories and hard-to-swallow plot twists.
    • 42 Metascore
    • 63 Steven Rea
    The Internship itself would be kind of charming, too, if this Google-recruitment film, this 119-minute commercial for Googliness, weren't so downright creepy.
    • 42 Metascore
    • 63 Steven Rea
    The movie devolves into a kind of high-tech Flash Gordon, with Ra as a cross- dressed Ming and Russell and Spader as the heroes required to chase big lugs with ray-guns around the inside of a pyramid. Things get pretty brainless before it's over, although Russell does get to deliver a great send-off line. [28 Oct 1994, p.5]
    • 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.
    • 42 Metascore
    • 38 Steven Rea
    How'd this thing get made?
    • 42 Metascore
    • 88 Steven Rea
    From the street corner to the boardroom to the White House, the same paradigms are in play, Brown argues.
    • 42 Metascore
    • 75 Steven Rea
    Morel and his crew certainly know how to stage action: the fight scenes and shootouts, the stairwell pursuits and motorway mayhem, are as good, if not better, than anything to come out of Hong Kong in a long time.
    • 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.
    • 42 Metascore
    • 75 Steven Rea
    Wildly ridiculous and thoroughly entertaining thriller.
    • 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.
    • 42 Metascore
    • 38 Steven Rea
    Laughably bad adaptation of a Guy de Maupassant novel.
    • 42 Metascore
    • 63 Steven Rea
    Taken for what it is - 'tweenage escapism - Stormbreaker is moderately fun.
    • 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.
    • 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.
    • 41 Metascore
    • 63 Steven Rea
    Too cute for its own good, Larry Crowne is nonetheless hard to dislike.
    • 41 Metascore
    • 63 Steven Rea
    An enjoyable throwback to the way monster movies used to be made.
    • 41 Metascore
    • 63 Steven Rea
    TMNT has a cool, noirish sheen. There's an attention to detail in the visuals and sound design that pushes it up several notches above most kiddie fare. It's not art, dude, but it will do.
    • 41 Metascore
    • 63 Steven Rea
    The Spanish actress Marina Gatell is exotic and engaging as a young writer drawn to Lorca and puzzled why he is not drawn to her in return.
    • 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.
    • 41 Metascore
    • 63 Steven Rea
    Tries too hard to be playful and sensual, wacky and romantic, and comes away feeling fake and prefabricated instead.
    • 41 Metascore
    • 75 Steven Rea
    It's sick. It's stupid. But it also is undeniably adept at skewering social hypocrisy, lancing the boils of political self-righteousness, and poking fun where others fear to tread.
    • 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.
    • 41 Metascore
    • 63 Steven Rea
    Any semblance of seriousness and verisimilitude suggested by the marketing campaign is quickly forgotten once director Antoine Fuqua's enjoyably tacky Die Hard-on-the-Potomac gets under way.
    • 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
    • 63 Steven Rea
    It's all very deep, but in a tricked-up, art-directed sort of way.
    • 41 Metascore
    • 63 Steven Rea
    Rourke and Roberts! Dueling kings of B-movie excess and cable-TV schlock, together again on the big screen! Talk about chemistry!
    • 41 Metascore
    • 63 Steven Rea
    There are winning scenes between Wilson and the three teens as they train in various martial arts (like Mexican Judo - "as in Ju-don't know who you're messing with!") and get tips from clips of "Fight Club" and "The Untouchables."
    • 41 Metascore
    • 75 Steven Rea
    Almost absurdly quiet and observant, The Limits of Control is about the space between the action, the steps along the way.
    • 41 Metascore
    • 75 Steven Rea
    A wickedly funny, Naked Gun-style parody that conflates old-style private-eye pics with Shaft and, yes, Rudolph, the Red-Nosed Reindeer.
    • 41 Metascore
    • 63 Steven Rea
    More a deification than a documentary.
    • 41 Metascore
    • 75 Steven Rea
    A slick, stylish hardboiled caper filtered through a druggy haze and borrowing a bit of a "Memento" revenge motif and "Pulp Fiction" playfulness.
    • 41 Metascore
    • 75 Steven Rea
    If Running Scared had come out in 1994, before "Pulp Fiction," it - and Kramer - would be hailed as blazingly original. But questions of originality notwithstanding, there's plenty of blazing going on here.
    • 41 Metascore
    • 50 Steven Rea
    Just about the only folks likely to find this humdrum hybrid of "Mission: Impossible" and "The Wind in the Willows" worthy for consideration are non-discriminating pip-squeaks.
    • 41 Metascore
    • 38 Steven Rea
    This Romeo and Juliet is hard to take seriously - and simply hard to take.
    • 41 Metascore
    • 63 Steven Rea
    Wild Target is the sort of farce where nothing, essentially, is at stake, even as cars crash (including an original Mini Cooper), bullets rip, and knives get hurled with deadly velocity.
    • 41 Metascore
    • 63 Steven Rea
    It's fun to watch Keaton and Kline together, bickering and (of course) bonding all over again.
    • 40 Metascore
    • 63 Steven Rea
    An enjoyably goofy hybrid of extraterrestrial sci-fi and Iron Age action, Outlander boasts a super-serious Jim Caviezel in the title role
    • 40 Metascore
    • 75 Steven Rea
    Isn't exactly fraught with psychological depth and nuance, but as a stalker-stalkee suspenser, the pic has some nice things going for it.
    • 40 Metascore
    • 63 Steven Rea
    Penn's over-the-top tirades and bullying threats are still there - it's a wild and woolly performance that isn't always as menacing as perhaps the actor intended it to be.
    • 40 Metascore
    • 50 Steven Rea
    Owen is all right as the harried husband whose relationship at home has turned frosty, but the essential heat between him and Aniston is missing. The actress succeeds in shedding her "Friends" persona, but there's something missing here, especially as things get knottier.
    • 40 Metascore
    • 50 Steven Rea
    The offbeat comedy is not entirely devoid of charm, but its derivativeness is almost embarrassing.
    • 40 Metascore
    • 38 Steven Rea
    Feels like it's been homogenized and Hollywoodized to death.
    • 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.
    • 40 Metascore
    • 63 Steven Rea
    Charged up with stormy melodrama.
    • 40 Metascore
    • 38 Steven Rea
    There's nothing remotely fantastic about this Fantastic Four.
    • 40 Metascore
    • 63 Steven Rea
    It is by turns illuminating, exasperating, sloppy, redundant, a head-spinner, and a headache.
    • 40 Metascore
    • 50 Steven Rea
    A bummer.
    • 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.
    • 40 Metascore
    • 38 Steven Rea
    A pity-party of Hollywood narcissism.
    • 40 Metascore
    • 50 Steven Rea
    Cold and stylish, slick and violent.
    • 40 Metascore
    • 50 Steven Rea
    Catastrophically overdone.
    • 40 Metascore
    • 63 Steven Rea
    Like Liam Neeson's "Taken" series, Costner's 3 Days to Kill finds its absentee-dad action hero facing off against hordes of goons and gorillas - not to rescue his loved ones, but to prove himself to them, and maybe get a little extra quality time, too.
    • 40 Metascore
    • 50 Steven Rea
    From its jungle forays to its waterfall tumbles to its deadly spider bites - is entirely, utterly unoriginal.
    • 40 Metascore
    • 75 Steven Rea
    It's the cars, and the mega-horsepowered action, that matter most. With its driver-POV spinouts, wrong-way chases, and multilane median jumps, the movie is a roaring revel of an automotive fantasy.
    • 40 Metascore
    • 63 Steven Rea
    Has its effectively nasty, chilling moments -- and it also brings body piercing to new heights of ickiness.
    • 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.
    • 40 Metascore
    • 38 Steven Rea
    Beastly offers a thoroughly dopey reread of the "Beauty and the Beast" fairy tale.
    • 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.
    • 40 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.
    • 39 Metascore
    • 50 Steven Rea
    There's nothing original, nor compelling, about Twist.
    • 39 Metascore
    • 38 Steven Rea
    The film has been directed in a murky, rhythmless fashion by Niels Arden Oplev.
    • 39 Metascore
    • 63 Steven Rea
    Clash of the Titans is ancient Greece at its cheesiest. It's a big hunk of feta comin' at ya in 3-D.
    • 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.
    • 39 Metascore
    • 38 Steven Rea
    What a mess.
    • 39 Metascore
    • 38 Steven Rea
    A stagy, arty, and uncompelling account of the Welsh writer and his menage-y relations.
    • 39 Metascore
    • 50 Steven Rea
    While The Sitter isn't that dumb, or dreadful, there really isn't much going on here.
    • 39 Metascore
    • 38 Steven Rea
    What a mess.
    • 39 Metascore
    • 50 Steven Rea
    Harry Connick Jr. acquits himself best of the lot.
    • 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.
    • 39 Metascore
    • 63 Steven Rea
    Luckily, Statham is up to the task. Which is a surprise, because he's never, ever done anything like this before.
    • 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.
    • 39 Metascore
    • 63 Steven Rea
    Efron, who wears an "All glory is fleeting" tattoo on his back and a soulful look on his face, gets to be more of a grown-up in The Lucky One than in most of what he's done before.
    • 38 Metascore
    • 38 Steven Rea
    The kind of glossy, Hollywood-forged waste of time that would depress even the most happily lackadaisical retiree.
    • 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.
    • 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.
    • 38 Metascore
    • 63 Steven Rea
    Empire, with its double-barreled shoot-outs, its predictable carnage and conflict, and a rush-job of a resolution, is ultimately just one more urban gangland genre flick.
    • 38 Metascore
    • 63 Steven Rea
    Beyond turbocharged. It whooshes along at warp speed. And still, despite some awesomely choreographed stunts and the two stars' pedal-to-the-metal appeal, the movie seems endless.
    • 38 Metascore
    • 63 Steven Rea
    Even at just 90 minutes, Balls of Fury - with its caricatures of the Asian underworld, with its G-man malarkey and gay jokes (Feng keeps an all-boy bevy of sex slaves) - begins to outstay its welcome.
    • 38 Metascore
    • 25 Steven Rea
    I nodded off watching Just Visiting.
    • 38 Metascore
    • 50 Steven Rea
    The real Radio, and the real coach -- seen together in the movie's feel-good epilogue -- deserve better.
    • 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.
    • 38 Metascore
    • 63 Steven Rea
    The best thing about The Life Before Her Eyes, a somber meditation on fate and friendship, is the way it captures the close relationship between two teenage girls.
    • 38 Metascore
    • 63 Steven Rea
    As Hopkins himself goes wild-eyed and FX-ed with popping veins, The Rite gives up on asking us to take it seriously.
    • 38 Metascore
    • 50 Steven Rea
    Yes, bestiality in a PG-13 movie. It's the end of life as we know it.
    • 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?
    • 38 Metascore
    • 75 Steven Rea
    As a piece of filmmaking, What the Bleep isn't exactly transcendent stuff. But as an entryway into new ways of thinking about the self, the universe, and the vast infinite whatnot of whatever (you know what we mean, oh wise one), this little movie is big.
    • 38 Metascore
    • 63 Steven Rea
    Chan's signature mix of screwball comedy and gymnastic derring-do landed him his own cartoon series a few years back, and The Medallion -- with its bumbling spies and bounding star -- is about as cartoonish as live action gets.
    • 38 Metascore
    • 38 Steven Rea
    Williams, going full throttle as the desperate deposed kiddie icon Rainbow Ralph, is, well, simply exhausting.
    • 38 Metascore
    • 25 Steven Rea
    A forced-march comedy.