For 110 reviews, this critic has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Walter Addiego's Scores

  • Movies
Average review score: 57
Highest review score: 100 The Good Shepherd
Lowest review score: 12 Grumpier Old Men
Score distribution:
  1. Positive: 48 out of 110
  2. Negative: 18 out of 110
110 movie reviews
    • 61 Metascore
    • 100 Walter Addiego
    A remarkable study of the corrosive effects of fear and power on an establishment insider who puts duty above all else.
    • 79 Metascore
    • 100 Walter Addiego
    This is a nearly miraculous conjunction of director, material and actor.
    • 80 Metascore
    • 100 Walter Addiego
    Timeless, and as fine a depiction of human folly as you're likely to see at the movies.
    • 93 Metascore
    • 100 Walter Addiego
    A documentary with a keen eye, a playful sense of timing and an inquisitive soul.
    • 86 Metascore
    • 100 Walter Addiego
    If you know Federico Fellini's "La Dolce Vita," you'll be unable to watch The Great Beauty without thinking about it. This gorgeous Italian movie, like its predecessor, balances pungent satire and a more melancholy mood in portraying the dissolute world of the upper crust in contemporary Rome.
    • 87 Metascore
    • 88 Walter Addiego
    Its brazen mixture of the comic and dramatic, the high and low and the emotional and intellectual is positively Shakespearean.
    • 77 Metascore
    • 88 Walter Addiego
    This is filmmaking of high energy and wit. What it adds up to is debatable. You can view it as a bright twist on the being-a-cop-is-lonely sort of police picture, or as a mini-anthology of quirky not-quite-love stories. If it's hard to say where Chungking Express arrives, the trip is still exhilarating.
    • 59 Metascore
    • 75 Walter Addiego
    Succeeds better than it ought to, largely because of the personality and prodigious talents of its director and star, the Italian comedian Roberto Benigni.
    • 64 Metascore
    • 75 Walter Addiego
    Quiet, moving and beautifully shot.
    • 74 Metascore
    • 75 Walter Addiego
    A sobering documentary.
    • 69 Metascore
    • 75 Walter Addiego
    Some nice performances and modest laughs highlight this amiable British comedy.
    • 40 Metascore
    • 75 Walter Addiego
    Entertainment made well enough that you can overlook its absurdities.
    • 71 Metascore
    • 75 Walter Addiego
    What's on the screen may not be a letter-perfect Mansfield Park, but something true to its spirit.
    • 77 Metascore
    • 75 Walter Addiego
    Nunez's style is quiet, simple and deliberate, but the film never drags.
    • 71 Metascore
    • 75 Walter Addiego
    While amusing and sometimes touching, Pleasantville is far from challenging.
    • 77 Metascore
    • 75 Walter Addiego
    Funny enough that it could make buddy pictures respectable again.
    • 79 Metascore
    • 75 Walter Addiego
    De Felitta has taken potentially overripe material and given it real heart.
    • 82 Metascore
    • 75 Walter Addiego
    Works a familiar mine and produces more than a few nuggets. It's a good tonic, if one's still needed, for '80s-style cynicism: Greed is not good.
    • 83 Metascore
    • 75 Walter Addiego
    A film that can be enjoyed by all ages and that insults no one's intelligence.
    • 47 Metascore
    • 75 Walter Addiego
    William H. Macy is fine as the detective Arbogast, wearing a hat he could have borrowed from Martin Balsam in the original role.
    • 54 Metascore
    • 75 Walter Addiego
    The author calls the movie "perfect" - reassurance that the director hasn't tried to pull any fast ones.
    • 28 Metascore
    • 75 Walter Addiego
    Marshall has an astounding instinct for popular entertainment. He's done it again with The Other Sister.
    • 49 Metascore
    • 75 Walter Addiego
    The veteran Baker anchors the proceedings, and you would like to see more of her character.
    • 64 Metascore
    • 75 Walter Addiego
    Gattaca is a welcome throwback to the days of good, low-tech sci-fi, stressing character and atmosphere over computer-generated effects and juvenile thrills.
    • 56 Metascore
    • 75 Walter Addiego
    Entertaining but predictable, and too long.
    • 68 Metascore
    • 75 Walter Addiego
    A charming and moving film about a slightly racy subculture in a highly rule-bound society.
    • 78 Metascore
    • 75 Walter Addiego
    Gets blue-ribbon results from its thoroughbred cast of improvisational comics.
    • 73 Metascore
    • 75 Walter Addiego
    It's a testament to what happens when all the right ingredients come together. Wag the Dog is the best political satire in years.
    • 72 Metascore
    • 75 Walter Addiego
    That's not to say the entertaining Antz" was made by Woody, just that it's full of his personality.
    • 75 Metascore
    • 75 Walter Addiego
    History rendered with enough brains and imagination to more than make up for its few stumbles.
    • 70 Metascore
    • 75 Walter Addiego
    There's a sense of genuineness throughout Girlfight.
    • 56 Metascore
    • 75 Walter Addiego
    Parents should note the PG rating. There's little bloodshed, but several fight scenes, lots of loud roaring and some overwhelming special effects sequences could vex younger viewers.
    • 49 Metascore
    • 75 Walter Addiego
    The ending is a disappointment, a perfunctory upbeat gesture.
    • 54 Metascore
    • 75 Walter Addiego
    The standard noir trappings are here: the femme fatale, double-crossing, fatalism, broken dreams, innocence betrayed and the rest of it. But Stone pushes it all so far and so relentlessly that it becomes absurdist comedy.
    • 39 Metascore
    • 75 Walter Addiego
    The result is a thrill ride with enough plunges and turns and loop-the-loops to make it worth a spin. What the picture lacks is the magic and resonance you feel in the best of popular entertainments.
    • 56 Metascore
    • 75 Walter Addiego
    From Juan Ruiz-Anchia's florid, eruptive photography to the pinpoint editing by Howard E. Smith that enhances it, everyone involved with The Corruptor understands that action is the bottom line - except Chow.
    • 77 Metascore
    • 75 Walter Addiego
    This is grim material, but director Hilary Brougher -- working from her own script that won a Sundance award -- examines the lives of these two suffering women without sensationalism or preaching.
    • 76 Metascore
    • 75 Walter Addiego
    Less ambitious than the highly successful "Secrets & Lies," Career Girls has its own modest merits - a real sense of wit, much of it expressed in Hannah's sharp verbal sallies, and a melancholy truth that both women realize.
    • 48 Metascore
    • 63 Walter Addiego
    The glory of the picture is the eye-popping, surreal backgrounds that blast the conventional characters off the screen.
    • 55 Metascore
    • 63 Walter Addiego
    Some delightful surprises, but the sort of heavy-metal, high-definition sci-fi look that dominates the proceedings, plus the relentless pace and endless morphing, are somewhat tiring.
    • 62 Metascore
    • 63 Walter Addiego
    It's soft-edged fun that loses direction (or, given the scattershot plot, directions).
    • 63 Metascore
    • 63 Walter Addiego
    You may find yourself weeping toward the end, and, later, you may also find yourself wondering why. The revelations are staggeringly obvious.
    • 66 Metascore
    • 63 Walter Addiego
    It's full of visual flash, and can be enjoyed as a giddy ride, but you would waste your time trying to puzzle out the nuances of the story.
    • 84 Metascore
    • 63 Walter Addiego
    I can't help thinking, though, that maybe Thornton was too ambitious in trying to wear three hats.
    • 53 Metascore
    • 63 Walter Addiego
    Cher is an inspired bit of casting, while the talented Dench is underused. Smith seems to be going through the motions as the fatuous and deluded aristocrat, while Tomlin has a ball as Georgie. But what really stays with you is the work by Plowright - she is a beacon of good sense (both as actor and character) and plucky as you please.
    • 63 Metascore
    • 63 Walter Addiego
    It's not as good as the original - which was fresher, funnier and scarier - but if it were, then by the criteria of the film's resident movie scholar, it wouldn't be a genuine sequel.
    • 59 Metascore
    • 63 Walter Addiego
    Lacks the spark of the best recent Disney spectaculars, like "Beauty and the Beast."
    • 53 Metascore
    • 63 Walter Addiego
    Metroland is a provocative rumination on how relationships are warped by two people's inability to be truthful with each other.
    • 47 Metascore
    • 50 Walter Addiego
    Besides some fine dogfight sequences, it often feels threadbare, just an exercise in recycling.
    • 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.
    • 43 Metascore
    • 50 Walter Addiego
    A weakly performed rehash of master-slave role-reversal tales.
    • 37 Metascore
    • 50 Walter Addiego
    Tired comedy.
    • 53 Metascore
    • 50 Walter Addiego
    Earnest and kid-friendly -- also simplistic and dramatically creaky.
    • 48 Metascore
    • 50 Walter Addiego
    It seems like another misstep - the story just doesn't hold up to Ritchie's treatment.
    • 34 Metascore
    • 50 Walter Addiego
    Good-looking and empty.
    • 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
    These pictures need a light touch and a lot of attitude, but this time you can hear heavy breathing in the background.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 50 Walter Addiego
    Ronin shows the mark of a veteran hand and is entertaining in fits and starts.
    • 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.
    • 70 Metascore
    • 50 Walter Addiego
    Though short on subtlety, A Walk on the Moon does offer the consolation of some decent performances.
    • 57 Metascore
    • 50 Walter Addiego
    Linklater has less success telling a story; time passes amiably, but the film has no center.
    • 20 Metascore
    • 50 Walter Addiego
    Whatever It Takes is DOA -- dated on arrival.
    • 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.
    • 65 Metascore
    • 50 Walter Addiego
    The film finally seems to stagger under the weight of its own significance.
    • 41 Metascore
    • 50 Walter Addiego
    This is middling Woody, at best: For every funny line or sequence, there's at least one misfire.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 50 Walter Addiego
    Too much of nothing and far from the potentially star-making material that Foxx deserves.
    • 42 Metascore
    • 50 Walter Addiego
    A counterfeit of a Woo movie, even though Woo himself co-produced it.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Walter Addiego
    The needle on the laugh-o-meter barely budges.
    • 65 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.
    • 49 Metascore
    • 50 Walter Addiego
    A misfire.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Walter Addiego
    Spiritually it's a John Woo-George Romero-Jim Thompson picture, outrageously bloody and weird.
    • 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.
    • 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.
    • 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.
    • 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
    Freed from the demands of adapting an established and complex literary piece, the filmmakers seem to have relaxed - and so can their audience.
    • 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.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 50 Walter Addiego
    Capably made but simplistic story.
    • 34 Metascore
    • 38 Walter Addiego
    Second-banana material.
    • 55 Metascore
    • 38 Walter Addiego
    The jokes run hot, cold and tepid.
    • 36 Metascore
    • 38 Walter Addiego
    Stupid.
    • 45 Metascore
    • 38 Walter Addiego
    If only it wasn't such bloody nonsense.
    • 45 Metascore
    • 38 Walter Addiego
    Legends of the Fall never makes you think too hard; its woes-of-a-proud-family formula takes a back seat to a self-conscious visual style that strains toward the level of myth.
    • 31 Metascore
    • 25 Walter Addiego
    A way-below-par golfing comedy.
    • 52 Metascore
    • 25 Walter Addiego
    Ineptly written and shot like a fashion mag, rings hollow throughout. It's a long, long way from "Jules and Jim."
    • 23 Metascore
    • 25 Walter Addiego
    A dimwitted, fill-in-the-blanks horror opus that slanders a fine and useful mammal.