For 1,965 reviews, this critic has graded:
  • 73% higher than the average critic
  • 2% same as the average critic
  • 25% lower than the average critic
On average, this critic grades 7.9 points higher than other critics. (0-100 point scale)

Steven Rea's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 My Dog Skip
Lowest review score: 0 Isn't She Great
Score distribution:
1965 movie reviews
    • 65 Metascore
    • 75 Steven Rea
    Works the basics with style and intelligence.
    • 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.
    • 77 Metascore
    • 75 Steven Rea
    Loaded with Hitchcockian hugger-mugger, this is a genre Polanski clearly revels in.
    • 57 Metascore
    • 88 Steven Rea
    With the filmmaking techniques pared to the bone, it is left to the actors to bring the scenes alive - and they do, often brilliantly.
    • 75 Metascore
    • 88 Steven Rea
    Lady Vengeance is not for everyone. The violence, while less over-the-top and orgiastic than Park's two previous installments, is still hard and crackling. The sex is grim and graphic. And deadpan nihilism permeates the air.
    • 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?
    • 64 Metascore
    • 63 Steven Rea
    It's earnest, but it feels beside the point. Blood Diamond's real point: box office.
    • 69 Metascore
    • 75 Steven Rea
    This is a smart, spirited spoof that will leave you with a smile on your face - and an appetite for some serious '70s funk to play on the eight-track in your solid gold Cadillac convertible.
    • 64 Metascore
    • 75 Steven Rea
    Doesn't match up against the new millennium martial artistry of "The Matrix," nor do the special effects - but he knows how to establish characters and relationships.
    • 74 Metascore
    • 88 Steven Rea
    Rivette's slow-moving but seamless study of the rituals of courtship has a disarming grace, even as its downcast hero, Depardieu's Gen. Armand de Montriveau, limps around stiffly.
    • 55 Metascore
    • 63 Steven Rea
    It's a hokey piece of melodrama in a movie that cheats its characters - and its audience - out of some emotional truth.
    • 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.
    • 84 Metascore
    • 100 Steven Rea
    Kings and Queen, full of passion and humor, madness and grief, is close to a masterpiece. It's like life: messy, impossible, elating, unavoidable.
    • 73 Metascore
    • 88 Steven Rea
    To be sure, there are goofy flourishes here, the in-jokey, left-field rummies that are the Brothers Coen's stock-in-trade. But this is altogether a quieter, more philosophical sort of endeavor.
    • 43 Metascore
    • 75 Steven Rea
    "Lousy times make lousy people," someone opines, and maybe that's the point Romero's trying to drive home.
    • 72 Metascore
    • 63 Steven Rea
    The film only occasionally comes to life - it's too literal (and literary), too studied, too still.
    • 77 Metascore
    • 88 Steven Rea
    Mountain Patrol is breathtakingly beautiful, breathtakingly brutal and simply breathtaking.
    • 86 Metascore
    • 88 Steven Rea
    Ozon has crafted a near-perfect film, a mournful, moving kind of cinema poetry.
    • Philadelphia Inquirer
    • 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.
    • 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.
    • 63 Metascore
    • 63 Steven Rea
    Like Mickey Rourke in "The Wrestler," Malkovich plays a star long past his glory days in The Great Buck Howard, but continuing to do the only thing he knows. The tone of the two films couldn't be less alike, but the story arc of the central characters graphs the same.
    • 34 Metascore
    • 50 Steven Rea
    A mildly scary, totally meaningless excursion into the realms of psychological horror and alien-abduction conspiracies.
    • 76 Metascore
    • 88 Steven Rea
    Rife with nightmarishly violent and horrific behavior. It's intense, graphic, frightening.
    • 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
    • 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.
    • 57 Metascore
    • 63 Steven Rea
    The filmmakers' narrative device of framing Quinn's tale as a feature-length flashback doesn't pay off - we get a goody-two-shoes moral lesson at the end, and a look at movie studio aging makeup gone wild.
    • 57 Metascore
    • 75 Steven Rea
    It's not exactly high art, but it's certainly high.
    • 83 Metascore
    • 88 Steven Rea
    The film speaks to fundamental issues of history, truth, and the philosophical conflicts of humankind.
    • 74 Metascore
    • 75 Steven Rea
    Throw in the music -- a wall-to-wall whorl of Eastern modal dirges, thumping rock and Celtic-y skirl -- and you've got a veritable cinematic rhapsody of war.
    • Philadelphia Inquirer
    • 82 Metascore
    • 88 Steven Rea
    It's a tearjerker, sometimes, and sweetly funny at other moments. It's near perfect.
    • 52 Metascore
    • 63 Steven Rea
    A wholesome little drama aimed at the pre- and early-teen crowd.
    • 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.
    • 69 Metascore
    • 75 Steven Rea
    It's the dynamic between the three leads, Rawlins, Sives and Henderson - and the young McKinlay, who's like a miniature Shirley Henderson - that is this oddball and bittersweet story's pulsing heart.
    • 86 Metascore
    • 75 Steven Rea
    One of the great things about this unpredictable, exhilaratingly goofy fable is how it shows that even the clueless - and the tragically morose - have a shot at redemption.
    • 55 Metascore
    • 75 Steven Rea
    Just misses being great. The dark shaman mysticism doesn't entirely mesh with the earthbound quest across the wild and glorious Southwest. And the ending, with its shoot-outs and sacrifices, has a choppy, unneccessarily complicated feel.
    • 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.
    • 51 Metascore
    • 75 Steven Rea
    Tunney, brimming with coltish, neurotic energy, holds the screen like a true star. She brings the role, and the movie, to life.
    • 74 Metascore
    • 63 Steven Rea
    Stymied by a clunking script, crammed with expository exchanges and urgent blather.
    • 90 Metascore
    • 100 Steven Rea
    A visually dazzling mood piece.
    • 73 Metascore
    • 88 Steven Rea
    Boasts another formidable and fine-tuned performance from the great Charlotte Rampling.
    • 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."
    • 54 Metascore
    • 63 Steven Rea
    Clones makes the Frodo-speak of "Lord of the Rings" sound like Noel Coward.
    • 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.
    • 66 Metascore
    • 63 Steven Rea
    Moderately compelling and clinical. This isn't "Breakfast at Tiffany's"; this isn't even "Klute."
    • 70 Metascore
    • 75 Steven Rea
    The Warlords, ultimately, tries to speak to the futility of war - but it does so by staging one gargantuan dustup after another.
    • 88 Metascore
    • 100 Steven Rea
    It's a quietly powerful work, pulsing with gentle humor and a gripping sense of imminent calamity and dread.
    • 54 Metascore
    • 75 Steven Rea
    A goofy combination of screwball farce and Dogma-style verite grit and gloom.
    • 59 Metascore
    • 75 Steven Rea
    Signs is about God and family, too, but it's also about scaring the bejesus out of you -- and on that level it works like a miracle.
    • 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
    • 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.
    • 83 Metascore
    • 100 Steven Rea
    Crazy Heart is the real thing, and a real gem.
    • 81 Metascore
    • 75 Steven Rea
    Gorgeous work, and its imagery and themes dovetail perfectly: a story about creating art, artfully created.
    • 83 Metascore
    • 100 Steven Rea
    Like Hitchcock, only creepier, Haneke slowly cranks up the suspense.
    • 72 Metascore
    • 50 Steven Rea
    Alas, Brick, from writer-director Rian Johnson, isn't as clever as its conceit.
    • 64 Metascore
    • 75 Steven Rea
    The movie isn't as deep as it pretends to be, but it does have several nicely unexpected twists going for it. And it has Williams - memorably creepy, chillingly sad.
    • 72 Metascore
    • 63 Steven Rea
    Girl With a Pearl Earring is really about watching paint dry. S l o w l y.
    • 50 Metascore
    • 75 Steven Rea
    There's a xenophobic element to Taken's premise, to be sure - the idea that travel, even to Western Europe, isn't safe for Americans, and that foreigners (Albanians, Arabs) are by nature shifty and sinister.
    • 65 Metascore
    • 75 Steven Rea
    The film turns into a story of corruption on many levels, and it moves fast, without a scrap of fat in the telling.
    • 70 Metascore
    • 63 Steven Rea
    Ultimately, the movie's a bust.
    • 67 Metascore
    • 75 Steven Rea
    Moon is a deceptively simple study of alienation, paranoia, and loneliness.
    • 90 Metascore
    • 100 Steven Rea
    A triumph.
    • 49 Metascore
    • 50 Steven Rea
    Eva Longoria brings a crisp swagger and fluent Spanish to her role.
    • 68 Metascore
    • 63 Steven Rea
    This mildly amusing tale of infidelity, blackmail, class differences and corporate greed not only strains credulity - it strains for laughs.
    • 57 Metascore
    • 75 Steven Rea
    Rodriguez manages to work in some nicely cornball messages (family togetherness and forgiveness is good, Stallone doing comedy is bad) and theatergoers get to walk out with their very own way-cool cardboard anaglyphic eyeglasses.
    • 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.
    • 64 Metascore
    • 75 Steven Rea
    "March of the Penguins" - phooey! Those smelly little birds are built to survive in the frozen tundra, and nobody's asking them to pull a sled.
    • 45 Metascore
    • 75 Steven Rea
    Entertainingly creepy.
    • 69 Metascore
    • 63 Steven Rea
    One of the problems with the way Mamet resolves Mike's predicament is that it's ridiculously implausible - even in the context of a far-fetched fight story.
    • 86 Metascore
    • 100 Steven Rea
    This heartbreaking film, with its rich performances and simple eloquence, lays claim to greatness.
    • 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
    • 51 Metascore
    • 63 Steven Rea
    Finding Amanda isn't bad, and there is some smart, jagged humor.
    • 76 Metascore
    • 88 Steven Rea
    Although Me and You and Everyone We Know requires patience on the part of the viewer - to get past the faux naivete of its grown-up characters, to get past its deadpan arty tone - Miranda July's feature debut is worth the time.
    • 69 Metascore
    • 75 Steven Rea
    A disconcerting experience.
    • 51 Metascore
    • 50 Steven Rea
    Intermittent moments of mild amusement ensue.
    • 22 Metascore
    • 25 Steven Rea
    A lethargic, lurching holiday-themed comedy.
    • 85 Metascore
    • 100 Steven Rea
    Unstoppable fun.
    • 73 Metascore
    • 88 Steven Rea
    A loopy, surreal, beguiling collage of a film, the writer-director's meta-biopic embraces its subject.
    • 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
    • 63 Steven Rea
    An enjoyable throwback to the way monster movies used to be made.
    • Philadelphia Inquirer
    • 75 Metascore
    • 75 Steven Rea
    Croupier, immersed in a world of gambling, gamesmanship and crime, is a solid, seductive entertainment.
    • 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.
    • 73 Metascore
    • 75 Steven Rea
    Blitz captures the melancholy, the rage, the wackiness and drama of adolescence, and he gets winning performances out of his young stars.
    • 56 Metascore
    • 63 Steven Rea
    The movie would pour nicely onto a thick stack of pancakes.
    • 84 Metascore
    • 100 Steven Rea
    The movie is, start to finish, candy-colored angst.
    • 46 Metascore
    • 75 Steven Rea
    Bloody, bone-chilling fun.
    • 27 Metascore
    • 25 Steven Rea
    What a stupefying thing it is.
    • 88 Metascore
    • 100 Steven Rea
    It's aimed at adults as much as children, with jokes that work on multiple levels, and contraptions.
    • Philadelphia Inquirer
    • 69 Metascore
    • 75 Steven Rea
    Succeeds royally at building a sense of apocalyptic dread. It isn't quite so successful at sustaining that mood, and Fessenden resorts to blurry images of totemic spirit forces and stampeding moose specters to get where he's going. And where exactly is that? To a place designed to scare the bejesus out of us planet-pillaging consumers.
    • 12 Metascore
    • 12 Steven Rea
    Slackers is, well, consummately cheesy. Ugh.
    • Philadelphia Inquirer
    • 36 Metascore
    • 38 Steven Rea
    "The Godfather" without Brando, "GoodFellas" without Scorsese, "The Sopranos" without Gandolfini - 10th & Wolf is all that, and less.
    • 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
    • 38 Metascore
    • 38 Steven Rea
    Williams, going full throttle as the desperate deposed kiddie icon Rainbow Ralph, is, well, simply exhausting.
    • 66 Metascore
    • 63 Steven Rea
    The Hip Hop Project, a documentary about Kazi and the young men and women he mentors, isn't quite as successful as Kazi himself - a Bahamian orphan and teenage street hustler who turned his life around, and got folks like Queen Latifah, Russell Simmons and Bruce Willis to help out him and his project.
    • 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.
    • 73 Metascore
    • 63 Steven Rea
    Fails on a couple of levels. It never really gives you a sense of the psychology, the root causes behind Glass' elaborate frauds... And since we don't know the why, the how becomes considerably less interesting.
    • 52 Metascore
    • 63 Steven Rea
    At best diverting, at worst an almost self-parodic compendium of French film cliches.
    • 74 Metascore
    • 88 Steven Rea
    Rife with dark humor, Little Otik presents a cautionary variation of the creation myth, and a warning that tampering with the natural order of things may not be such a wise idea.
    • 65 Metascore
    • 63 Steven Rea
    I Am Legend is essentially "28 Days Later" . . ., or "28 Weeks Later" . . ., only with millions more for special effects, and with nothing approaching the heart-pounding, bloodcurdling power and smarts of the two British-made yarns.
    • 73 Metascore
    • 75 Steven Rea
    Filmmaker Dabis based Amreeka on her own family's experiences in the rural Midwest during the first Gulf War. Although the drama heads on a predictable course, Faour brings intelligence and humor to her performance and Muallem, as the smart adolescent turned surly and scared, is likewise sharp.
    • 56 Metascore
    • 75 Steven Rea
    Dark Blue World is "Pearl Harbor" without the product placements, without the Hollywood bombast, and certainly without the $100-million-plus budget.
    • 60 Metascore
    • 75 Steven Rea
    With its polished mix of traditional and computer-generated cartooning, Treasure Planet doesn't exude the same suspense as the Disney original. You could say it's lighter on its feet -- but then there's less gravity in outer space, anyway.
    • 65 Metascore
    • 75 Steven Rea
    Catfish, made on the cheap with digital video, cell-phone cams, and hidden mikes, raises all sorts of questions - about the imaginary realms that open when you click on your computer screen, about cyber-stalking, but also about journalistic ethics.
    • 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.
    • 74 Metascore
    • 75 Steven Rea
    For the most part, the film stays steady-on, celebrating one man's crusade - and one family's heartbreak.
    • 47 Metascore
    • 50 Steven Rea
    A knuckleheaded period piece.
    • 58 Metascore
    • 75 Steven Rea
    They're all dressed up to kill, with no place to go.
    • 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.
    • 86 Metascore
    • 63 Steven Rea
    It's a cinematic feat, an art lover's dream, but as a moviegoing experience, Alexander Sokurov's Russian Ark is something of a letdown.
    • 59 Metascore
    • 63 Steven Rea
    Femme Fatale is glossy, glamorous cinema as collage. Maybe all the pieces of a truly good film noir are here, but the filmmaker has opted simply to toss them into the air and let them fall where they may.
    • 56 Metascore
    • 63 Steven Rea
    Max
    This film is a philosophical musing -- a humanitarian speculation, not a drama about real people, historical figures or not, who seem fully formed.
    • 49 Metascore
    • 75 Steven Rea
    Is Final Fantasy decent sci-fi? Yes, more than decent.
    • 74 Metascore
    • 88 Steven Rea
    Features entertainingly brainy musings from New York Times art critic Michael Kimmelman, and comments from child psychologists, friends and Marla collectors.
    • 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.
    • 16 Metascore
    • 38 Steven Rea
    Dark and murky, grainy and grim.
    • 96 Metascore
    • 100 Steven Rea
    Wondrously strange and just plain wonderful.
    • 46 Metascore
    • 63 Steven Rea
    Cross Dog Day Afternoon with This is Spinal Tap and you have the concept behind Airheads: heavy metal trio seeking record contract holds radio station employees hostage, much mayhem and moshing ensues.... Airheads isn't nearly as good as its antecedents, but it does manage to produce a stream of lowbrow laughs. Or smiles, anyway. [5 Aug 1994, p.3]
    • Philadelphia Inquirer
    • 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.
    • 67 Metascore
    • 75 Steven Rea
    As for the scary business - it is, indeed, scary, delivered with an intensity that will make you think twice the next time you find yourself driving alone, or opening a closet door when no one else happens to be around.
    • 68 Metascore
    • 75 Steven Rea
    Damon, starring in his first full-fledged action pic, brings a determined bearing and believability to the proceedings.
    • 56 Metascore
    • 75 Steven Rea
    This movie will shake your windows and rattle your walls.
    • 82 Metascore
    • 75 Steven Rea
    In the end, Harry Potter and The Prisoner of Azkaban offers what neither of its predecessors, for all their wand-waving and witch-brooms, had: real magic.
    • 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.
    • 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.
    • 55 Metascore
    • 63 Steven Rea
    A pumped-up, plotless montage of extraordinary landscapes, colorful wildlife, and interesting people performing feats of derring-do.
    • 71 Metascore
    • 88 Steven Rea
    An intriguing study of identity, marriage and, perhaps, madness.
    • 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."
    • 51 Metascore
    • 75 Steven Rea
    Michael Elliot, the Philadelphia native who wrote Just Wright as a vehicle for Latifah - and who was on set for most of the shoot - says that Common's earnestness, and eagerness, and his sense of responsibility in carrying the movie, were palpable.
    • 65 Metascore
    • 63 Steven Rea
    In a way, The TV Set suffers from the same syndrome as the industry it's parodying: bland and compromised, it feels as if it's been fine-tuned and focus-grouped within an inch of its life.
    • 64 Metascore
    • 75 Steven Rea
    May not plumb the depths of the female psyche, but it's stylish and frivolous in the most profound ways.
    • 77 Metascore
    • 75 Steven Rea
    The real drama -- and poetry -- in 8 Mile are in those fiery face-offs, the hip-hop battles, as Jimmy rat-tat-tats his rap in deft flashes of spontaneous combustion.
    • 79 Metascore
    • 88 Steven Rea
    This is a picture of quiet observation, contained emotion, the hush before the cathartic scream.
    • 85 Metascore
    • 100 Steven Rea
    At turns funny, sweet, sad, trenchant and telling. It's a gem.
    • 73 Metascore
    • 88 Steven Rea
    A compelling existential tableau: sweating bodies, creaking mills turned by numbed oxen, people facing the daily and seasonal cycles of life with little hope of breaking free. Behind the Sun is forceful stuff.
    • 55 Metascore
    • 63 Steven Rea
    As stories go, The Astronaut Farmer is engaging, even if it serves up a kind of Plains State brand of Rocky-esque hooey.
    • 65 Metascore
    • 75 Steven Rea
    Its dabs of dark comedy and stabs of gore, still rings with a sense of the real. It's electric-charged.
    • Philadelphia Inquirer
    • 72 Metascore
    • 75 Steven Rea
    It's hard not to get caught up in this improbable but true follow-your-dream tale.
    • 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.
    • 25 Metascore
    • 38 Steven Rea
    Ed
    Where does Ed, which is about a baseball-playing chimp and his human sidekick, fit in the pantheon of simian cinema? Way, way down there - on a level with toe lint. [15 Mar 1996, p.5]
    • Philadelphia Inquirer
    • 77 Metascore
    • 63 Steven Rea
    For all the film's gritty verisimilitude, The Messenger is not the great Iraq War movie that Kathryn Bigelow's "The Hurt Locker" is.
    • 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.
    • 41 Metascore
    • 63 Steven Rea
    Tries too hard to be playful and sensual, wacky and romantic, and comes away feeling fake and prefabricated instead.
    • 71 Metascore
    • 88 Steven Rea
    Funny stuff.
    • 43 Metascore
    • 63 Steven Rea
    Whether he's smacking into an iceberg or flopping topless onto a sandy beach, DiCaprio is still maddeningly lightweight.
    • Philadelphia Inquirer
    • 52 Metascore
    • 63 Steven Rea
    Where "Run Lola Run" was like a perpetual-motion machine, The International seems to forever be stopping in its own tracks. Tykwer takes coffee breaks to explain the convoluted and dicey plot.
    • 79 Metascore
    • 75 Steven Rea
    Compared to "Ray," which takes Ray Charles' unique life story and manages to make it feel like a cliche, Kinsey is total sophistication and nuance.
    • 62 Metascore
    • 88 Steven Rea
    Like the old and creaky Belafonte, the film itself seems forever on the brink of drifting away. But it's the kind of drifting that's nothing but enjoyable. In fact, it's beyond enjoyable - heading into waters full of whimsy, mystery and odd, psychedelic fish.
    • 20 Metascore
    • 25 Steven Rea
    Little kidniks with an appetite for zap-pow silliness might find this to their liking. Everyone else, beware.
    • 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.
    • 29 Metascore
    • 38 Steven Rea
    This unabashedly stupid comedy is, well, unabashedly stupid.
    • 82 Metascore
    • 88 Steven Rea
    The great thing about Venus - apart from its sharp eye for the daily routines and drab details of senior citizenry in a buzzing metropolis - is that it isn't soppy, or sentimental.
    • 73 Metascore
    • 63 Steven Rea
    What it lacks, though, is any sense that these people - are real.
    • 52 Metascore
    • 50 Steven Rea
    300
    300 is "Gladiator" for the gamer set.
    • 70 Metascore
    • 75 Steven Rea
    Labaki, who studied filmmaking in Lebanon and France, has a deft touch and nice instincts.
    • 82 Metascore
    • 100 Steven Rea
    With no-nonsense narration by Peter Coyote and a soundtrack that's at once apt, ironic and really, really good, The Smartest Guys in the Room is anything but a dry dissection of a major Wall Street debacle.
    • 77 Metascore
    • 75 Steven Rea
    Bier knows what she's doing, and the performances are expert and affecting. But this meditation on love -- and love's bad timing -- is also improbably accommodating to its characters' respective longings.
    • 66 Metascore
    • 100 Steven Rea
    For Piaf fans, La Vie en Rose is a must-see. For fans yet-to-be, Dahan and Cotillard's film is an opportunity rich with discovery.
    • 83 Metascore
    • 75 Steven Rea
    It's a lush, lovely dreamscape of a movie, steeped in familiar vernacular (film noir), yet capable of shooting off in totally unfamiliar, surreal directions.
    • 28 Metascore
    • 25 Steven Rea
    I could make a joke here about the new Pokemon movie.
    • 46 Metascore
    • 75 Steven Rea
    Diaz works that trademark mix of ditziness, sexiness, and brassiness.
    • 60 Metascore
    • 63 Steven Rea
    Skarsgard's performance is bold and raw (and reminiscent of vintage Jack Lemmon in its earnestness).
    • 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.
    • 63 Metascore
    • 75 Steven Rea
    Pulls off a neat trick: It's a poignant, sweet-natured love story in which what most of us would call kinky sex - domination, submission, some enthusiastic spanking - is featured prominently, but not pruriently.
    • 54 Metascore
    • 75 Steven Rea
    It has enough buzzing wit and eye-popping animation to win over the kids - and probably more than a few parents, too.
    • 66 Metascore
    • 88 Steven Rea
    Kick-Ass has punk energy, ace action moves, and a winning sense of absurdist fun.
    • 53 Metascore
    • 75 Steven Rea
    lLght and likable - a low-budget "Steel Magnolias" without pretense.
    • 33 Metascore
    • 63 Steven Rea
    Plays around with some interesting notions, such as the nature of reality, the nature of humanity, and the nature of spiffy apartments with sleek bathroom fixtures.
    • 59 Metascore
    • 63 Steven Rea
    Never as much fun as (Woo's) old Chow Yun Fat-starring Chinese pics.
    • 58 Metascore
    • 88 Steven Rea
    May strain credulity, but it still leaves a memorable mark.
    • 57 Metascore
    • 75 Steven Rea
    An exotic throwback to the kind of movies that John Huston used to make, where on-the-lam expatriates, tubby guys with tinny accents, and sinister locals convene in a ramshackle but seductive foreign burg -- and corruption, conflict and come-ons from a sultry female or two ensue.
    • 33 Metascore
    • 63 Steven Rea
    Bedtime Stories does have a comic buoyancy, even as its plot trots on a predictable course. Perhaps the different accents and sensibilities have something to do with that.
    • 65 Metascore
    • 63 Steven Rea
    Terribly slight and a little off.
    • 73 Metascore
    • 88 Steven Rea
    Tully is at turns heartbreaking and heart-stirring. And it's from the heartland, so I guess that makes perfect sense.
    • 84 Metascore
    • 88 Steven Rea
    Ann Savage, the femme fatale from a slew of old Hollywood noirs, is savagely funny as Maddin's beauty-parlor proprietress mom.
    • 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.
    • 68 Metascore
    • 75 Steven Rea
    Bittersweet and funny.
    • 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.
    • 74 Metascore
    • 75 Steven Rea
    Offers a fascinating chronicle of the birth, glory days and waning years of a motorcycle-jacketed, bowl-haircutted quartet of middle-class geeks who unwittingly spawned the punk movement.
    • 34 Metascore
    • 0 Steven Rea
    Has to be among the worst movies ever made.
    • 64 Metascore
    • 75 Steven Rea
    With a moody overlay of songs supplied by Okkervil River and Shearwater, In Search of a Midnight Kiss also serves as a millennial's answer to Woody Allen's "Manhattan."
    • 57 Metascore
    • 75 Steven Rea
    Polley's performance is pitch-perfect.
    • 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.
    • 87 Metascore
    • 75 Steven Rea
    Caouette's fractured history is imbued with heart-crushing sincerity.
    • 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.
    • 52 Metascore
    • 63 Steven Rea
    It's not that Fay Grim isn't amusing. It is, in that deadpan, skewed way that indie auteur Hartley's pics always are. But there's not much else going on here.
    • 72 Metascore
    • 50 Steven Rea
    Feels downright ancient.
    • 26 Metascore
    • 63 Steven Rea
    Impossibly arty and, at times, narratively incoherent, Filth and Wisdom still has its goofy charms.
    • 77 Metascore
    • 88 Steven Rea
    Forceful, heart-wrenching stuff.
    • 57 Metascore
    • 75 Steven Rea
    This pleasant but predictable affair does one thing very well: showcasing the versatility of Chiwetel Ejiofor. The London actor can be seen as Denzel Washington's detective sidekick in "Inside Man." Watch him chomp down on a New York accent with Washington, and then watch him as Lola (a.k.a. Simon), a cabaret performer in makeup, wig and wild gowns. That's acting.
    • 66 Metascore
    • 63 Steven Rea
    It is possible to bring substance, as well as poetry, to the vignette form, but more often Paris, Je T'Aime is merely mundane.
    • 78 Metascore
    • 75 Steven Rea
    It's quite a celebration.
    • 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.
    • 77 Metascore
    • 100 Steven Rea
    Wily, sad, funny, and full of life.
    • 70 Metascore
    • 75 Steven Rea
    For a movie about community and forgiveness, family and grace, Pieces of April is refreshingly unsappy.
    • 95 Metascore
    • 100 Steven Rea
    It's a masterpiece.
    • 58 Metascore
    • 88 Steven Rea
    A heartbreaking film that speaks to the lifelong aftershocks of war, and to the powerful bonds of family and of love.
    • 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.
    • 28 Metascore
    • 63 Steven Rea
    Teeming with socially awkward misfits, Gentlemen Broncos is not without its absurdist charms, although Hess (who co-scripted with his wife, Jerusha) pushes the envelope in ways it doesn't need pushing.
    • 68 Metascore
    • 75 Steven Rea
    At the heart of the film, Polley - with her wary, unsure stares, her open smile and beguiling intelligence - is terrific.
    • Philadelphia Inquirer
    • 60 Metascore
    • 75 Steven Rea
    A spare and moving study of regret and redemption, marked with chilling truths about a life behind bars.
    • Philadelphia Inquirer
    • 61 Metascore
    • 50 Steven Rea
    Boy, can Harvey Keitel be bad -- and not bad like "Bad Lieutenant," bad like bad acting.
    • 59 Metascore
    • 75 Steven Rea
    Intriguing, provocative stuff.
    • 58 Metascore
    • 75 Steven Rea
    Never less than engaging.
    • 85 Metascore
    • 75 Steven Rea
    Both a concert film and a more intimate thing: a fascinating, fly-on-the-wall (or fly-in-the-dining-car) glimpse of some clearly blotto rock legends talking, singing, hanging out. The fact that a good number of them are now dead makes it doubly memorable.
    • 59 Metascore
    • 75 Steven Rea
    Fiennes does this sort of inner pain thing exceedingly well, Tyler is beguiling and believable, and there is an edge of wit and grace to the proceedings.
    • 71 Metascore
    • 100 Steven Rea
    A powerful film.
    • 55 Metascore
    • 63 Steven Rea
    Lacks an essential sense of purpose.
    • Philadelphia Inquirer
    • 68 Metascore
    • 75 Steven Rea
    Zooms along with confidence, smarts, and some of the coolest car chases this side of the Indy 500.
    • 70 Metascore
    • 75 Steven Rea
    It's quite a lot of fun.
    • Philadelphia Inquirer
    • 76 Metascore
    • 88 Steven Rea
    Brothers is about how people change, how they can rise to an occasion, or sink to one. It's a tale of love and allegiance, of truth and the cruelties that men can bring to bear on one another.
    • 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.
    • 86 Metascore
    • 88 Steven Rea
    To say this bone-chilling, gut-turning feature is "The Crying Game"-meets-"In Cold Blood." But this is a film - writer/director Peirce's first - that matches those pictures in power, in surprise, and in unnerving drama.
    • Philadelphia Inquirer
    • 74 Metascore
    • 75 Steven Rea
    Affleck is more interested in the people in the midst of the action than he is in the action itself, and that gives this accomplished genre piece considerable and compelling depth.
    • 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.
    • 45 Metascore
    • 63 Steven Rea
    Visually dazzling but ultimately dizzying ride, a trippy suspenser that gets tripped up on its own deja vu voodoo.
    • 82 Metascore
    • 88 Steven Rea
    An exquisite exploration into the realms of seduction, obsession, deception and disillusionment.
    • 72 Metascore
    • 100 Steven Rea
    A mischievously inventive, surreal entertainment, one that celebrates not only Whipple Scrumptious Fudgemallow Delight and Nutty Crunch Surprise but Busby Berkeley, Stanley Kubrick, the Beatles, and the outer-space acting choices of one Johnny Depp - not to mention those bushy-tailed rodents in all their bustling splendor.
    • 62 Metascore
    • 63 Steven Rea
    A black comedy, a character study, and a thriller, Lord of War lacks the gritty, hell-bent hilarity of David O. Russell's contemporary war pic, "Three Kings."
    • 61 Metascore
    • 75 Steven Rea
    That's what Blue Crush is getting at: girls going for the gold in a sport that's traditionally been the domain of men.
    • 71 Metascore
    • 63 Steven Rea
    Emily Watson, looking at home in her '40s frocks, plays Angus' mother - coping not only with her son's obsession with what she believes to be an imaginary friend, but also with her own worry and grief about her husband at war.
    • 84 Metascore
    • 88 Steven Rea
    A dour-faced but sublime comedy about the kindness of strangers -- and about the strangeness of people who find themselves in oddball moments of grace.
    • 80 Metascore
    • 100 Steven Rea
    If that sounds highbrow and pretentious, it's not. The neat trick of Tristram Shandy is that the whole thing comes off as a lark.
    • 68 Metascore
    • 88 Steven Rea
    The heart of the matter - and the viscera - is the action, and one man's determination to survive. Apocalypto is primal.
    • 55 Metascore
    • 63 Steven Rea
    Washington offers another of his rock-steady performances, playing a career civil servant with a couple of secrets of his own, but confident, diligent, ready to go the distance for the city he loves.
    • 37 Metascore
    • 50 Steven Rea
    Fails to provide one essential ingredient: suspense.
    • 63 Metascore
    • 75 Steven Rea
    Undertow has the plain, stark, disturbing quality that marked the original "Cape Fear" and "In Cold Blood."
    • 36 Metascore
    • 63 Steven Rea
    Yes, there's a hastily added new ending - an ending that doesn't make sense when you think about it. Not that it's worth the effort
    • 46 Metascore
    • 50 Steven Rea
    It's a big stuffed turkey of a movie, just in time for the holidays.
    • Philadelphia Inquirer
    • 35 Metascore
    • 63 Steven Rea
    Williamson's screenplay doesn't match the cleverness of his conceit; it lacks the requisite archness and wit.
    • 75 Metascore
    • 75 Steven Rea
    Isn't as strong a film as it could have been: Only teasing slices of these people's lives are offered.
    • Philadelphia Inquirer
    • 72 Metascore
    • 75 Steven Rea
    Deftly filmed and directed by Jean-François Richet.
    • 52 Metascore
    • 63 Steven Rea
    Easy to like, and easy to forget.
    • tbd Metascore
    • 63 Steven Rea
    Doesn't run very deep, or resonate with profound meaning. But as a thoughtful fable, laced with humor, the picture has its charms.
    • Philadelphia Inquirer
    • 84 Metascore
    • 88 Steven Rea
    A mordantly funny, clear-eyed view of an extended family's mounting dysfunction in a changing society.
    • 85 Metascore
    • 100 Steven Rea
    Offers a view of war that is anything but epic. Instead of sweeping battles and swooping fighter planes, in Lebanon we are brought into the impossibly claustrophobic world of a lone tank crew.
    • 72 Metascore
    • 75 Steven Rea
    Rohmer pulls off a wonderful feat: celebrating the elegance, and artifice, of another era at the same time he brings this tale of social upheaval boldly into the present.
    • 56 Metascore
    • 63 Steven Rea
    Doesn't have the dramatic heft to warrant all its angst and anguish.
    • Philadelphia Inquirer
    • 61 Metascore
    • 75 Steven Rea
    A smart comedy that serves as both bittersweet coming-of-age tale and '90s nostalgia piece, The Wackness has the feel of authenticity about it, even if some of its details (the ice cream cart, and the therapist's bong, for two) seem a bit much.
    • Philadelphia Inquirer
    • 36 Metascore
    • 63 Steven Rea
    A harmless and mildly amusing family comedy.
    • 70 Metascore
    • 75 Steven Rea
    Patric and Liotta get the chance to do some heavy riffing on themes of honor, sacrifice, selling out and self-destructing, and the bleak, smeared world of drugs and violence is brought to the fore with feverish style.
    • 54 Metascore
    • 75 Steven Rea
    A sleek little meditation on beauty, desire, love and time. Now and then, it's fairly sophisticated stuff.
    • 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.
    • 76 Metascore
    • 75 Steven Rea
    Zany screwball farce.
    • 69 Metascore
    • 63 Steven Rea
    Duplicity zips from one elaborate piece of hugger-mugger to the next. But at a certain point (for me, it was Rome), boredom sets in.
    • 87 Metascore
    • 88 Steven Rea
    A frightening portrait of corruption, cynicism, intimidation, greed and violence, Gomorrah is tough stuff.
    • 72 Metascore
    • 88 Steven Rea
    A heart-grabbing, awe-inspiring work that needs no embellishment.
    • 57 Metascore
    • 75 Steven Rea
    Relationships - between men and women, fathers and sons - are more complicated in real life, and The Boys Are Back deftly acknowledges that fact.
    • 62 Metascore
    • 75 Steven Rea
    Despite its familiar formula, feels fresh.
    • 66 Metascore
    • 63 Steven Rea
    A stage-y but likable ensemble piece.
    • 57 Metascore
    • 63 Steven Rea
    Perhaps to compensate for the absence of compelling drama and tension (and a few continuity gaffes), Scott has retreated to his TV commercial roots and crammed Hannibal full of busy, art-directed visuals.
    • Philadelphia Inquirer
    • 78 Metascore
    • 88 Steven Rea
    It shows how the energy, and innocence, of children can be found - and fostered - in even the bleakest spots on earth.
    • 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.
    • 74 Metascore
    • 75 Steven Rea
    Serrill has shot and edited The Heart of the Game in straightforward documentary style, with a narration by the rapper and actor Ludacris. But the dramas going on here, on and off the court, more than make up for any lack of flash.
    • 74 Metascore
    • 75 Steven Rea
    Has two or three booming and intense action sequences that may leave the littlest audience members more quaking than charmed. But the notion of having a pet dragon - just like a pet whale, or a pet lion - is a scenario that should appeal to children of all ages.
    • 63 Metascore
    • 75 Steven Rea
    The contrast in lifestyles is striking, and I suppose one of the themes that Babies is trying to get at is that despite chasm-wide economic and societal differences, infants are really all the same.
    • 71 Metascore
    • 75 Steven Rea
    It's a character study, nicely realized.
    • 43 Metascore
    • 38 Steven Rea
    With the raunch quotient cranked up several notches, the sequel is calculated, cynical and, worse, not funny.
    • 59 Metascore
    • 63 Steven Rea
    It's not dull, exactly, but neither is it much fun.
    • 69 Metascore
    • 63 Steven Rea
    Directed in workmanlike style by Underworld: Evolution's Len Wiseman, has its share of wild stunts and spectacular carnage, but it feels pokey and predictable, too.
    • 82 Metascore
    • 88 Steven Rea
    Funny, fear-inducing, with periods of voyeuristic gore and an undercurrent of anxiety and dread, Let the Right One In is up there with the bloodsucking classics.
    • 59 Metascore
    • 75 Steven Rea
    A sharp, intricate political drama.
    • Philadelphia Inquirer
    • 44 Metascore
    • 38 Steven Rea
    Entertainingly goofy for about 30 minutes. And then, for the next two hours-plus, it's agony.
    • 69 Metascore
    • 75 Steven Rea
    For a comedy about autoerotic asphyxiation, epic deception, and shameless exploitation, World's Greatest Dad is a surprisingly sweet and tender affair.
    • 59 Metascore
    • 75 Steven Rea
    The problem with The Perfect Storm is that while its roiling collision of weather systems is pulled off with cinematic deftness, the actors who stand there getting lashed and splashed don't have anything terribly interesting to say.
    • 72 Metascore
    • 75 Steven Rea
    Stevie is compelling, real-life drama: bleak and disturbing, but illuminating all the same.
    • 19 Metascore
    • 25 Steven Rea
    Long, lumbering and endlessly unfunny.
    • 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.
    • 61 Metascore
    • 75 Steven Rea
    A wistful little thing about regret, jealousy and love.
    • 47 Metascore
    • 38 Steven Rea
    Apocalyptically awful romantic comedy.
    • 58 Metascore
    • 75 Steven Rea
    Filled with breathtaking shots of crazed nutballs on skis plummeting down pitched peaks at high speed, Steep is a visually exhilarating sports documentary that is also more than a little exasperating.
    • 44 Metascore
    • 63 Steven Rea
    The best reason to see Along Came Polly is the supporting cast.
    • 59 Metascore
    • 75 Steven Rea
    It addresses the essential human need for dignity, for freedom, for mastery over one's life.
    • 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."
    • 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.
    • 53 Metascore
    • 75 Steven Rea
    Unravels a bit heading toward its finale, as buildings explode and characters are forced to explain themselves and their nefarious motives. But the payoff at the end - at once kind of radical and gratuitous - delivers a wallop.
    • 56 Metascore
    • 75 Steven Rea
    Dinner for Schmucks goes up in flames. Amusingly, perhaps -- but creatively, too.
    • 47 Metascore
    • 50 Steven Rea
    A syrupy and extraordinarily ridiculous adaptation.
    • 33 Metascore
    • 25 Steven Rea
    A stale and stupid thriller.
    • 66 Metascore
    • 88 Steven Rea
    At once noble and naive, earnest and a tad obnoxious.
    • 76 Metascore
    • 88 Steven Rea
    Greenberg, with Stiller's sad and self-mocking portrait at its core, is well worth getting to know.
    • 78 Metascore
    • 75 Steven Rea
    Creepy and compelling and beautifully shot, The Devil's Backbone is a tale of the supernatural that feels completely natural. Its realness is what makes it so scary.
    • Philadelphia Inquirer
    • 66 Metascore
    • 75 Steven Rea
    Is Auto Focus a cautionary tale or just a morbid, voyeuristic foray into kitsch and kink? Whatever it is, it's not pretty - it's the cinematic equivalent of soiled, stained sheets. You'll want to run out of the theater straight to a Laundromat.
    • 88 Metascore
    • 88 Steven Rea
    There's a loneliness at the heart of this world, and Ghost World, that's really touching -- and a bit scary, too.
    • 30 Metascore
    • 38 Steven Rea
    Parents in a masochistic mood can compound the headache-inducing experience by paying extra for the 3-D version.
    • 82 Metascore
    • 88 Steven Rea
    So disturbing, on so many levels.
    • 24 Metascore
    • 50 Steven Rea
    Piles dumb gag upon dumb gag - it's like benign pummeling. Occasionally, you just have to laugh.
    • 82 Metascore
    • 88 Steven Rea
    A terrific mystery, equal parts haunting love story and nimble thriller.
    • 84 Metascore
    • 75 Steven Rea
    Steeped in quiet despair, Lantana is a psychological thriller that emphasizes the psychology over the thrills. It's a smart, heart-twisting picture.
    • Philadelphia Inquirer
    • 47 Metascore
    • 75 Steven Rea
    A winner.
    • 54 Metascore
    • 75 Steven Rea
    With its rebellious themes and pharmaceutical props - Ritalin, Prozac, Xanax all get doled out - Charlie Bartlett isn't going to win any awards from parent-teacher groups. But the underlying message of the film, with its nods to "Catcher in the Rye" and - '70s throwback here - "Harold and Maude," is a good one.
    • 65 Metascore
    • 75 Steven Rea
    The "black Godfather" comes off as a cold-blooded narcissist whose vision of the American Dream is as twisted as it seems to have been rewarding.
    • 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.
    • 56 Metascore
    • 75 Steven Rea
    Offers two hours of luxury and loveliness, music and art, and a bit of sexually charged madness, too.

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