Walter Addiego

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For 535 reviews, this critic has graded:
  • 44% higher than the average critic
  • 5% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 0.6 points higher than other critics. (0-100 point scale)

Walter Addiego's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Ida
Lowest review score: 0 Deck the Halls
Score distribution:
  1. Negative: 47 out of 535
535 movie reviews
    • 68 Metascore
    • 50 Walter Addiego
    There seems to be a pretty good film lurking around inside Bullhead, which makes what we actually see on the screen all the more frustrating.
    • 61 Metascore
    • 50 Walter Addiego
    A bonbon, not of a full-course meal. Foodies will smack their lips over many delectable shots of victuals prepared by the film's engaging protagonist, a provincial woman chosen to cook for the president of France. As a story, though, it's insubstantial - there's conflict here, but it feels perfunctory.
    • 65 Metascore
    • 50 Walter Addiego
    The film raises significant questions about manhood and offers a few gripping sequences, but isn’t fully satisfying.
    • 68 Metascore
    • 50 Walter Addiego
    Taking a stand would have made the film stronger, and might even have been helpful to young Pug and his peers.
    • 64 Metascore
    • 50 Walter Addiego
    The title comes from Indian legend in which Lord Rama tests the purity of his wife by a flaming ordeal (which we see enacted in an open-air pageant with comic overtones of Bunuel). This bit of mythology too handily prefigures a major element in the film's conclusion.
    • 52 Metascore
    • 50 Walter Addiego
    A modestly entertaining martial arts melodrama with impressively staged fight sequences that help compensate for a stale plot and some less-than-stellar acting.
    • 65 Metascore
    • 50 Walter Addiego
    A doleful melodrama. There are some intense, moving sequences, but too much emotional badgering and a general shortage of finesse.
    • 53 Metascore
    • 50 Walter Addiego
    Although this leisurely tale of an aged French sculptor offers a few other small pleasures, in the end it lacks heft.
    • 75 Metascore
    • 50 Walter Addiego
    In short, a nice, predictable film unlikely to linger in the memory.
    • 37 Metascore
    • 50 Walter Addiego
    Trying to be provocative with a capital "P," Anne Fontaine's Adore undermines itself by provoking unintended laughs.
    • tbd Metascore
    • 50 Walter Addiego
    Turns into a pedestrian slice 'n' dice feature.
    • 70 Metascore
    • 50 Walter Addiego
    Boy
    The New Zealand feature Boy almost pulls off the trick of merging cartoonish humor and '80s pop culture with a story glancing at deeper family issues. The film has an appealing 11-year-old hero, but in the end feels half baked.
    • 45 Metascore
    • 50 Walter Addiego
    A mediocre college comedy that blends bits of "Revenge of the Nerds," "Mean Girls" and "Legally Blonde" and doesn't have much to show for it.
    • 54 Metascore
    • 50 Walter Addiego
    Requires us to repress any thoughts about stale material and keep Caine's heartfelt performance front and center.
    • 52 Metascore
    • 50 Walter Addiego
    This is an unabashedly pro-democracy message movie. Judged strictly as drama, it's pretty routine.
    • 46 Metascore
    • 50 Walter Addiego
    Affecting at times, but finally feels overblown and heavy-handed.
    • 59 Metascore
    • 50 Walter Addiego
    Oristrell's comedic sense only seems to succeed in spurts, and he often burdens the proceedings with a theatrical and contrived air that undermines the humor.
    • 40 Metascore
    • 50 Walter Addiego
    This Paramount-DreamWorks collaboration, with Stephen Spielberg credited as executive producer, is competently made, strongly focused on its characters' relationships and surprisingly light on special effects.
    • 48 Metascore
    • 50 Walter Addiego
    Amenta was deeply moved by Rita's story, but his prosaic direction can't do it justice.
    • 76 Metascore
    • 50 Walter Addiego
    The Dance of Reality may not succeed, but it may hold some interest to cinephiles as a relic of a kind of extravagant, overheated personal cinema that doesn't exist anymore.
    • 51 Metascore
    • 50 Walter Addiego
    Far too precious and eager to please to really deserve its self-description as a fairy tale.
    • 53 Metascore
    • 50 Walter Addiego
    The particulars of the plot don't make a great deal of sense, but Hartley's films have much more to do with style, or rather a philosophical refusal to show emotional involvement.
    • 50 Metascore
    • 50 Walter Addiego
    It’s always fun to watch the charismatic Bernal.
    • 52 Metascore
    • 50 Walter Addiego
    Spiritually it's a John Woo-George Romero-Jim Thompson picture, outrageously bloody and weird.
    • 49 Metascore
    • 50 Walter Addiego
    There’s nothing wrong with stretching audience credibility, but, to quote another movie that dabbles in the highly improbable, these things must be done delicately.
    • 53 Metascore
    • 50 Walter Addiego
    Too raw for kids and too simplistic for adults.
    • 44 Metascore
    • 50 Walter Addiego
    Carbon Nation serves us a full portion of scary statistics, but overall tries to accentuate the positive.
    • 54 Metascore
    • 50 Walter Addiego
    By casting model-turned-actress (and his now-estranged wife) Milla Jovovich as the Maid of Orleans, Besson gives us an over-amped spectacle with an annoying, sometimes ridiculous cipher at its heart.
    • 38 Metascore
    • 50 Walter Addiego
    The real trouble is that it's supposed to be an outrageous comedy, but in fact it's fairly tame and not all that funny.
    • 67 Metascore
    • 50 Walter Addiego
    Ronin shows the mark of a veteran hand and is entertaining in fits and starts.
    • 68 Metascore
    • 50 Walter Addiego
    It could have been something substantial.
    • 44 Metascore
    • 50 Walter Addiego
    The needle on the laugh-o-meter barely budges.
    • 73 Metascore
    • 50 Walter Addiego
    Capably made but simplistic story.
    • 42 Metascore
    • 50 Walter Addiego
    A counterfeit of a Woo movie, even though Woo himself co-produced it.
    • 31 Metascore
    • 50 Walter Addiego
    The Honeymooners isn't the worst of the endless spate of TV rehashes, but it still feels perfunctory.
    • 61 Metascore
    • 50 Walter Addiego
    The plot is somewhat pedestrian and the dialogue needs more zip. But it's amusing to watch the Bayaka poke good-natured fun at the gangly Larry, who has only their best interests at heart.
    • 76 Metascore
    • 50 Walter Addiego
    There's no getting around it. Though it's not without virtues, The Loneliest Planet may try the patience of even the most dedicated lovers of art film.
    • 34 Metascore
    • 50 Walter Addiego
    Excess Baggage aims to broaden her appeal beyond her established, youthful audience. It won't, because it's a messy mixture of so-so comedy and unmoving drama; its inconsistent tone suggests a production where no one was fully in charge.
    • 65 Metascore
    • 50 Walter Addiego
    The film finally seems to stagger under the weight of its own significance.
    • 61 Metascore
    • 50 Walter Addiego
    At its best, Gordon's work is bracing and pointed, though it's not for the queasy.
    • 49 Metascore
    • 50 Walter Addiego
    As a grab bag of reminiscences by veteran funny people, bolstered with richly entertaining performance footage, it's boffo.
    • 61 Metascore
    • 50 Walter Addiego
    Tries too hard to be even-handed.
    • 42 Metascore
    • 50 Walter Addiego
    Mocking Tinseltown is a pretty exhausted subject, and even Jaglom, a genuine insider, has a hard time making it fresh.
    • 44 Metascore
    • 50 Walter Addiego
    Bateman comes off well, humanizing his character with a strain of melancholy that’s one of the movie’s genuinely touching elements. Fey is all right, though she falls back on her patented shtick. Driver makes the most of his hipsterish role, nicely playing off the other siblings’ tension.
    • 51 Metascore
    • 50 Walter Addiego
    An intriguing portrait of an insular community, but its recounting of the seduction of a bright young man by the surrounding culture is heavy-handed.
    • 42 Metascore
    • 50 Walter Addiego
    Filmmaker Doris Yeung tries to mix a whodunit with a story of explosive family dynamics, but the effort succumbs to a weak script and a one-note lead performance.
    • 48 Metascore
    • 50 Walter Addiego
    There's more than a touch of whimsy in A Touch of Spice, a sentimental Greek offering that's been immensely popular in its home country but doesn't translate well.
    • 72 Metascore
    • 50 Walter Addiego
    To be sure, Censored Voices can hardly be seen as anything but a political document, one that shares Oz’s views.
    • 47 Metascore
    • 50 Walter Addiego
    Overall, it's pretty elementary stuff, along the lines of a Disney Channel TV movie. It's uplifting, and it's in a good cause.
    • 80 Metascore
    • 50 Walter Addiego
    So there’s talent on view here, but in service of a questionable proposition, with the whole thing tiptoeing toward the exploitative. It would be nice to see Mascaro try his hand at less volatile material.
    • 67 Metascore
    • 50 Walter Addiego
    You can't help cheering for Selena, but the good feeling is diminished by the sense that her story's been simplified and sanitized.
    • 70 Metascore
    • 50 Walter Addiego
    Though short on subtlety, A Walk on the Moon does offer the consolation of some decent performances.
    • 47 Metascore
    • 50 Walter Addiego
    Besides some fine dogfight sequences, it often feels threadbare, just an exercise in recycling.
    • 39 Metascore
    • 50 Walter Addiego
    Well-intentioned but heavy-handed.
    • 49 Metascore
    • 50 Walter Addiego
    A misfire.
    • 56 Metascore
    • 50 Walter Addiego
    Breaking Upwards has its amusing and touching moments, but we're left wondering just what we're supposed to make of it all. In the end, the relationship at the film's core is less absorbing than the filmmakers imagine.
    • 49 Metascore
    • 50 Walter Addiego
    Modestly better than last year's awful "End of Days," though it falls well short of Arnold's "Terminator" peak period.
    • San Francisco Examiner
    • 52 Metascore
    • 50 Walter Addiego
    Nicholson squeezes every wretched drop of buffoonery from this character, and it's distressing to watch him play an easy role for easy laughs.
    • 47 Metascore
    • 50 Walter Addiego
    This film is mainly for “Night at the Museum” diehards.
    • 58 Metascore
    • 50 Walter Addiego
    The movie isn’t really bad, just tepid, and it’s partly redeemed by a good lead performance.
    • 44 Metascore
    • 50 Walter Addiego
    If nothing else, The Inbetweeners Movie proves that raunchy comedies about horny teens aren't just an American quirk.
    • 65 Metascore
    • 50 Walter Addiego
    The film is implicitly advocating a New Age or holistic perspective, with a dollop of Eastern religion added for good measure. (The title is Sanskrit meaning "wheel of life.")
    • 67 Metascore
    • 50 Walter Addiego
    Not up to Ozon's standards.
    • 50 Metascore
    • 50 Walter Addiego
    In the end, all the bitterness seems like window-dressing to disguise a trite story.
    • 69 Metascore
    • 50 Walter Addiego
    Do Not Resist amounts to little more than a grab bag. Viewers looking for depth will have to find it elsewhere.
    • 71 Metascore
    • 50 Walter Addiego
    It's the story of a young married couple undone by a family tragedy, but the film loses its way, at one point turning into a political harangue.
    • 65 Metascore
    • 50 Walter Addiego
    A fast-moving Congolese crime thriller loaded with graphic sex and violence - basically an exploitation picture. But it's hard to surrender to the gritty flow because the story is stitched together from such crushingly familiar bits.
    • 43 Metascore
    • 50 Walter Addiego
    There’s lots of eye candy, and the pace is fast, but somehow the movie falls short. You’re forgiven if you get the idea that “Scorch Trials” suffers from “middle movie” fatigue.
    • 77 Metascore
    • 50 Walter Addiego
    The film refuses to soft-pedal Dickinson’s heartbreaking descent into bitterness and near-misanthropy, but sometimes operates with a heavy-handedness that’s certainly at odds with her poetry.
    • 80 Metascore
    • 50 Walter Addiego
    Skillfully made and offering moments of great power, the French Canadian drama Incendies nevertheless overplays its hand, piling tragedy on tragedy until we feel browbeaten with misery.
    • 67 Metascore
    • 50 Walter Addiego
    By the end you can't help but wonder whether it was a good idea to keep the youngsters under camera scrutiny for more than 12 years.
    • 47 Metascore
    • 50 Walter Addiego
    Despite highly enjoyable moments and the welcome presence of Kate Winslet, even sympathetic viewers will be put off by the movie’s bewildering variety of genres and tones.
    • 51 Metascore
    • 50 Walter Addiego
    The entertaining work by Spacey and Pepper is a good thing because the film has problems, including an utter lack of subtlety.
    • 47 Metascore
    • 50 Walter Addiego
    Lacks the finesse of other puzzle films.
    • 67 Metascore
    • 50 Walter Addiego
    There's some amusement in watching Michael Cera play an unalloyed jerk, but in the main this trifling film shuffles by with a few low-key jokes and observations, building to an abrupt moment of seriousness.
    • 31 Metascore
    • 50 Walter Addiego
    Francis Ford Coppola's Jack has its affecting moments, but in the end illustrates the pitfalls of the "concept" movie, the kind you can boil down to a one-line hook.
    • 64 Metascore
    • 50 Walter Addiego
    At 126 minutes the movie is excruciatingly long, but it is still too short to pack in all the subtle changes in character he means but fails miserably to convey.
    • 68 Metascore
    • 50 Walter Addiego
    Has compelling stretches, but the film's formal concerns overwhelm the storytelling.
    • 76 Metascore
    • 50 Walter Addiego
    Like Someone in Love is best suited to viewers already familiar with this extraordinary filmmaker's better work.
    • 54 Metascore
    • 50 Walter Addiego
    Lane, with his extensive stage experience, is acerbic, profoundly cynical and endlessly disgruntled. As the foil, Evans strike the right comic nice-guy note; he has fun with the character's sweetness and refuses to degrade him.
    • 73 Metascore
    • 50 Walter Addiego
    While recognizably Ceylan's work, is more of a genre piece - a noirish suspense film - and less successful.
    • 68 Metascore
    • 50 Walter Addiego
    It’s all so heavy-handed that it’s hard to stay engaged with the movie.
    • 37 Metascore
    • 50 Walter Addiego
    Tired comedy.
    • San Francisco Examiner
    • 59 Metascore
    • 50 Walter Addiego
    The film is sprinkled with “f” bombs, which fails to disguise that the enterprise is based on a surprisingly dated notion of what’s racy. Also, you simply may not find Bridget quite as adorable as the filmmaker’s clearly believe her to be.
    • 60 Metascore
    • 50 Walter Addiego
    With a handful of blackly humorous jolts and some game performances by a good cast, Thin Ice is a watchable, if not terribly original, piece of Midwestern noir.
    • 46 Metascore
    • 50 Walter Addiego
    It's funny in spots if you can tune out the Farrellys' ultra-crass jokes - along with any memory of the first movie.
    • 48 Metascore
    • 50 Walter Addiego
    Surprisingly pedestrian.
    • 43 Metascore
    • 50 Walter Addiego
    You feel the full weight of the movie's three hours, since the filmmakers only had 90 minutes' of plot.
    • 62 Metascore
    • 50 Walter Addiego
    Painfully sincere but tired.
    • 44 Metascore
    • 50 Walter Addiego
    Despite its worthy subject, this feature by veteran Brazilian director Bruno Barreto has a bluntness that's at odds with Bishop's personality and work.
    • 48 Metascore
    • 50 Walter Addiego
    It seems like another misstep - the story just doesn't hold up to Ritchie's treatment.
    • San Francisco Examiner
    • 42 Metascore
    • 50 Walter Addiego
    The picture is a relentless blast of color and movement that's based on the old TV show, but boils down to a supercharged version of old-time Saturday-afternoon movie serials.
    • 36 Metascore
    • 50 Walter Addiego
    No-one's-home acting by Bierko and Mol doesn't help, while the talented D'Onofrio ("The End of the World") and Mueller-Stahl (a veteran of European pictures) are better than the material.
    • 47 Metascore
    • 50 Walter Addiego
    Its examination of identity and loneliness begins to feel like a soap opera season boiled down into one very long episode with too much happening.
    • 41 Metascore
    • 50 Walter Addiego
    That's the real problem with this melodrama. Whether or not you agree with the pacifist message, the presentation is often overwrought and maudlin.
    • 39 Metascore
    • 50 Walter Addiego
    It’s a great story, but the movie has a flatness that can’t be denied. Who’d have expected a Herzog film to invoke thoughts of “Masterpiece Theater” and Merchant-Ivory productions at their most stiff and formal? I surely did not.
    • 68 Metascore
    • 50 Walter Addiego
    The comedy-drama is worth seeing for Christie's performance as a former B-actress married to a philandering handyman. She radiates a mature sexuality that's a rare treat on screen these days, and when the camera strays from her, you want to reach over and turn it back.
    • 55 Metascore
    • 50 Walter Addiego
    Good chemistry between the lead actors and nice supporting performances help Friends With Kids survive a formulaic story and just-OK filmmaking.
    • 38 Metascore
    • 50 Walter Addiego
    These pictures need a light touch and a lot of attitude, but this time you can hear heavy breathing in the background.
    • 45 Metascore
    • 50 Walter Addiego
    Hawke has created a standard-issue, Sundance-friendly indie film that's full of the predictable angst suffered by Manhattan artistic types, but unfortunately the lead characters are both so callow that you finally don't care much about them.
    • 55 Metascore
    • 50 Walter Addiego
    The Eye of the Storm is performed with zest by a fine cast and offers some nicely biting moments but, in the end, falls short of its large ambitions.
    • 65 Metascore
    • 50 Walter Addiego
    There are some compelling performance moments, and it's sad to watch these talented and basically nice people drift apart. But overall the film seems like a collection of bits and pieces, and it's hard to see how it could have much resonance for non-fans.
    • 55 Metascore
    • 50 Walter Addiego
    Congratulations to director Mick Jackson and writers Jerome Armstrong and Billy Ray for liberating themselves from the tedious demands of believability.
    • 70 Metascore
    • 50 Walter Addiego
    It's an apocalyptic ghost story with some eerie images and a surprising turn toward the end, but it bogs down considerably between the good scenes.
    • 45 Metascore
    • 50 Walter Addiego
    Campbell's admirers will probably enjoy the documentary, but I don't think it will do much for anyone else.
    • 69 Metascore
    • 50 Walter Addiego
    It doesn’t really add up, either as a psychological portrait or moral commentary.
    • 55 Metascore
    • 50 Walter Addiego
    Nostalgia for the groves of academe weighs heavily on Liberal Arts, which both exploits and undermines romanticized memories of campus life.
    • 60 Metascore
    • 50 Walter Addiego
    Some scenes are mild fun, but the mishaps that befall our hero aren't especially inventive, and although the South African setting provides a bit of interest, it's never really used incisively.
    • 40 Metascore
    • 50 Walter Addiego
    Never gets the mixture right, lurching between bullet-happy shootouts and overwrought domestic content.
    • 65 Metascore
    • 50 Walter Addiego
    Because he made "Eternal Sunshine of the Spotless Mind" (2004), there will always be high expectations for a new film by Michel Gondry. But while his new movie The We and the I, is intriguing in fits and starts, it isn't in the same league.
    • 57 Metascore
    • 50 Walter Addiego
    Linklater has less success telling a story; time passes amiably, but the film has no center.
    • 62 Metascore
    • 50 Walter Addiego
    It serves up a broad humanistic lesson with absurdism and black comedy more sad than barbed.
    • 76 Metascore
    • 50 Walter Addiego
    Well made, but it's a talkfest that wears its stage origins on its sleeve.
    • 54 Metascore
    • 50 Walter Addiego
    Has an impressive cast and captures some of that era's fuzzy rebelliousness and humanism, but taken on its own the picture is finally thin stuff.
    • 62 Metascore
    • 50 Walter Addiego
    By showing so many examples of his art, the film attests to Giger’s real gift for startling images. But it’s hard not to see, in addition, elements of repetitive adolescent provocation.
    • 62 Metascore
    • 50 Walter Addiego
    You may experience Visitors as more of a sedative than a punch in the guts.
    • 63 Metascore
    • 50 Walter Addiego
    Not sure we need to know this much about his family life.
    • 75 Metascore
    • 50 Walter Addiego
    His personal efforts are praiseworthy, but if glacial melting is in fact the "canary in the climate coal mine" (his words), the movie might have given us a bit less of Balog and a bit more of the startling sequences he produced.
    • 37 Metascore
    • 50 Walter Addiego
    P2
    Standard-issue slasher pic.
    • 41 Metascore
    • 50 Walter Addiego
    Director Paul Morrison ("Wondrous Oblivion") nicely re-creates the period, but puts too much weight on the sexual relationship as determining the men's artistic courses.
    • 35 Metascore
    • 50 Walter Addiego
    The direction, by Ben Nott and Morgan O'Neill, is average, except for the surfing sequences, which are easily as striking as what we see in documentaries about the sport. Another positive is the soundtrack, with amusing high-energy rock tunes of the era.
    • 29 Metascore
    • 50 Walter Addiego
    Miserly on food porn but not on prefab characters, it's well short of a cinematic feast.
    • 53 Metascore
    • 50 Walter Addiego
    As an indulgence in creative verbal abuse, the film offers some nasty fun.
    • 84 Metascore
    • 50 Walter Addiego
    What Laika achieves is an effective mixture of hyper-real and hyper-stylized, a combination that keeps “Kubo” appealing to the eye for audiences of all ages. If the film’s plotting and dialogue had measured up, “Kubo” might have been a masterpiece.
    • 53 Metascore
    • 50 Walter Addiego
    Earnest and kid-friendly -- also simplistic and dramatically creaky.
    • San Francisco Examiner
    • tbd Metascore
    • 50 Walter Addiego
    Ovation has a self-involved air that may be off-putting to those who don’t feel deeply immersed in that world. You may get the sense you’ve wandered into a super-intense acting class or someone’s therapy session — a hothouse atmosphere that’s oppressive.
    • 39 Metascore
    • 50 Walter Addiego
    Too much of nothing and far from the potentially star-making material that Foxx deserves.
    • San Francisco Examiner
    • 46 Metascore
    • 50 Walter Addiego
    The talented Murphy is appealing here, performing with sincerity and restraint - a wise choice, since his co-stars are a menagerie of wisecracking animals.
    • 59 Metascore
    • 50 Walter Addiego
    A romantic sitcom that never transcends its gimmicky plot, but offers enough screen time to Gwyneth Paltrow to satisfy even her most rabid fans.
    • 75 Metascore
    • 50 Walter Addiego
    the movie comes perilously close to implicitly justifying the killing that sparked the plot - a killing, by the way, that is close to senseless.
    • 60 Metascore
    • 50 Walter Addiego
    Writer-director Mark Herman seems genuinely moved by the plight of the mining communities, but his attempt to translate those feelings into a story shows the effects of hard labor.
    • 65 Metascore
    • 50 Walter Addiego
    If you want lots of Will Smith and industrial-strength special effects, the movie delivers.
    • 59 Metascore
    • 50 Walter Addiego
    Offers some hit-and-miss pleasures, but may finally strike you as pedestrian.
    • 52 Metascore
    • 50 Walter Addiego
    Despite a super-dark noir plot and respectable cast, Deadfall is a thriller that never quite delivers on its promise.
    • 53 Metascore
    • 50 Walter Addiego
    Tonal inconsistency is the iceberg that sinks The Pretty One. The film is a mashup of wacky comedy, romance and sorrowful elements that would tax a more seasoned filmmaker than first-time writer-director Jenée LaMarque.
    • 73 Metascore
    • 50 Walter Addiego
    I'll stick out my neck and say that Park Chan Wook's wildly gruesome Thirst is the most whacked-out version of an Emile Zola novel ever to reach the screen.
    • 38 Metascore
    • 50 Walter Addiego
    Strict plausibility isn’t necessary in these movies, and while No Escape doesn’t completely throw it out the window, it still inspires the occasional unintended giggle.
    • 73 Metascore
    • 50 Walter Addiego
    The film is beautiful but troubled, achieving in stretches the director's signature dreamy mood but dragged down by narrative confusions.
    • 54 Metascore
    • 50 Walter Addiego
    The movie is probably best appreciated by devotees of the cult director, who has made some good films and some interesting ones (and some that are both): "King of New York," "Bad Lieutenant," "The Addiction." "4:44" isn't quite in that company.
    • 87 Metascore
    • 50 Walter Addiego
    This is highly skilled filmmaking, but the movie is not for everybody — the relationship involves dominance and submission, sexual games played at a high pitch. This material falls short of pornographic, but still packs plenty of erotic punch.
    • 65 Metascore
    • 50 Walter Addiego
    Freed from the demands of adapting an established and complex literary piece, the filmmakers seem to have relaxed - and so can their audience.
    • 48 Metascore
    • 50 Walter Addiego
    A frantic, epic-sized blowout of campy, "Indiana Jones" -style derring-do mixed with lots of computer-generated gee-whizzes.
    • 59 Metascore
    • 50 Walter Addiego
    Aims to make epic drama of Algeria's battle for independence, but there are moments when you would swear you're watching a "Godfather" knockoff.
    • 58 Metascore
    • 50 Walter Addiego
    Kline is good in a role that suits him perfectly, and his scenes with Steenburgen are among the film’s most affecting. Jacobs is pretty good, too, really pouring on the Southern California “charm.”
    • 34 Metascore
    • 50 Walter Addiego
    Good-looking and empty.
    • 56 Metascore
    • 50 Walter Addiego
    An old-fashioned and family-friendly comedy.
    • 64 Metascore
    • 50 Walter Addiego
    The film is good enough to inspire viewers to learn more about Fela, but it should be better than that.
    • tbd Metascore
    • 50 Walter Addiego
    Perhaps Patten is trying to do to us what Rinpoche does to his followers, but the film's meandering structure and intrusive narration detract from the focus on the master.
    • 30 Metascore
    • 50 Walter Addiego
    Some of the talking heads say entertaining or thoughtful things and some of the locations are quite exotic. But does this justify 98 minutes of screen time?
    • 63 Metascore
    • 50 Walter Addiego
    A melancholy Spanish drama that’s competently made and checks off all the boxes defining a contemporary art-house movie. But it lacks the spark that separates top-of-the-line films from the pack, and watching it becomes something of a slog.
    • 20 Metascore
    • 50 Walter Addiego
    Whatever It Takes is DOA -- dated on arrival.
    • 44 Metascore
    • 50 Walter Addiego
    This is a slacker comedy with "festival" stamped all over it, so you can bet the consequences will be quirky.
    • 54 Metascore
    • 50 Walter Addiego
    The characters are mostly likable, and despite some comic sallies the film takes a compassionate stance toward them. But it feels like a glossy, overly neat take on what should be an explosive topic.
    • 65 Metascore
    • 50 Walter Addiego
    The tales are worthwhile, but it's challenging to find a common thread among them that goes beyond vague generalities.
    • 57 Metascore
    • 50 Walter Addiego
    The dramatic payoff is a bit disappointing; the movie is often overwrought; and its sense of its own importance finally wears you down.
    • 56 Metascore
    • 50 Walter Addiego
    Offers some memorable stories, but it simply tries too hard.
    • 53 Metascore
    • 50 Walter Addiego
    At some point, the movie itself crosses the line, from a modestly thoughtful attempt to extrapolate a drama from real and urgent events to a generic action piece with predictable good and bad guys and pat, civics-book morals.
    • 47 Metascore
    • 50 Walter Addiego
    It's an interesting spectacle, but not enough to carry a movie.
    • 37 Metascore
    • 50 Walter Addiego
    Your heart will go out to Shlain, who clearly adored her father. But other parts of Connected may remind you of an Al Gore lecture.
    • 84 Metascore
    • 50 Walter Addiego
    Really doesn't pay off much.
    • 72 Metascore
    • 50 Walter Addiego
    Occasionally funny and touching, but often embarrassing and cringe-inducing.
    • 73 Metascore
    • 50 Walter Addiego
    The film is well acted, with especially strong work by Alonso and Zegers. And director Larraín has a powerful knack for depicting human monsters. But he stacks the deck so heavily that at times the film can seem like simple-minded anti-clericalism, and at least some viewers are bound to resist.
    • 50 Metascore
    • 50 Walter Addiego
    Wilson is basically playing an even more feckless version of his "Office" character, Dwight, another intense and self-deluded doofus. It's a character that works better in smaller doses.
    • 63 Metascore
    • 50 Walter Addiego
    I liked this movie somewhat, even if I'm not sure exactly what it means. Possibly it has something to do with arriving home, in the broadest sense. But in a Maddin film, uncertainty comes with the territory.
    • 49 Metascore
    • 50 Walter Addiego
    This ambitious and sometimes entertaining Brazilian feature tries to pull off a tricky maneuver but doesn't quite get it done.
    • 30 Metascore
    • 50 Walter Addiego
    The film has a good cast, and is competently made in a plain-vanilla way, but its greatest appeal will be to those who share its endorsement of traditional religious values.
    • 63 Metascore
    • 50 Walter Addiego
    In Amigo, a story of the Philippine-American War, veteran filmmaker John Sayles allows his political convictions to get the better of him. The movie is a heavy-handed attack on U.S. imperialism with little to compensate in the way of character interest and genuine drama.
    • 49 Metascore
    • 50 Walter Addiego
    Perhaps the film's greatest strength is the performance by Kwanten, who appears in HBO's "True Blood" and may be familiar from his lead role in the big-screen Aussie thriller "Red Hill." Dermody also does well.
    • 35 Metascore
    • 50 Walter Addiego
    Goes south as a sci-fi film.
    • 62 Metascore
    • 50 Walter Addiego
    It's a sumptuously mounted melodrama that aims to make a big statement about big themes, but a stilted quality in the filmmaking drags it down.
    • 51 Metascore
    • 50 Walter Addiego
    Don't fault Thirlby, who does as much as she can with the material. Krasinski is pretty good, and DeWitt and Ennenga are outstanding. The direction is decent, and the film is handsome. But it's finally frustrating, enigmatic in a way that suggests emptiness more than mystery.
    • 53 Metascore
    • 50 Walter Addiego
    This love letter to man's best friend will make dog fanciers roll over and do tricks. It's so warmhearted, you'll want to run out and hug the nearest big, sloppy mutt. And while you're watching it, have your handkerchief ready.
    • 64 Metascore
    • 50 Walter Addiego
    A film that's hard to watch and hard to recommend.
    • 41 Metascore
    • 50 Walter Addiego
    This is middling Woody, at best: For every funny line or sequence, there's at least one misfire.
    • 50 Metascore
    • 50 Walter Addiego
    The new film pokes heavyhanded fun at extreme conservatives and has a "power to the people" sub-theme, but it's full of ultra-violence and is dragged down by standard scare tactics, thin characters and the absurdities of the premise.
    • San Francisco Chronicle
    • 36 Metascore
    • 50 Walter Addiego
    Relies on slapstick scenes that are neither essential nor especially clever.
    • 45 Metascore
    • 50 Walter Addiego
    The sum here is less than the parts, which have problems of their own.
    • 60 Metascore
    • 50 Walter Addiego
    By the time the women pull off their climactic stunt, the film's been undone by its ungainly mix of heavy-handed comedy and melodrama.
    • 43 Metascore
    • 50 Walter Addiego
    A weakly performed rehash of master-slave role-reversal tales.
    • San Francisco Examiner
    • 54 Metascore
    • 50 Walter Addiego
    City of Angels will probably work better for some people than it did for a crusty fellow like me. I feel guilty that I don't like this movie more. I think the devil got the better of me.
    • 65 Metascore
    • 50 Walter Addiego
    While the film raises simple but deeply puzzling questions about memory and identity, the hit-or-miss search for answers by the subject and assorted experts, family and friends is finally unsatisfying.
    • 61 Metascore
    • 50 Walter Addiego
    This splatter film is set in Norway, but rest assured, it sticks with the formula. The young people to be killed off are just as obnoxious as their counterparts in American gorefests.
    • 72 Metascore
    • 50 Walter Addiego
    There’s something to be said for simply watching Blanchett at work. Without the contribution of this exceptionally talented actress, Manifesto would be rough going indeed. With it, the film rises — barely — above the category of “enough already.”
    • 71 Metascore
    • 50 Walter Addiego
    Director Abdullah Oguz gives us lots of nice scenery, but the simplistic story and characters strain credibility. What's more, the climactic plot turn is as hokey as it gets.

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