Walter Addiego

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For 501 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 1.8 points higher than other critics. (0-100 point scale)

Walter Addiego's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Gomorrah
Lowest review score: 0 Deck the Halls
Score distribution:
  1. Negative: 44 out of 501
501 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 82 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.
    • 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.
    • 37 Metascore
    • 50 Walter Addiego
    Tired comedy.
    • San Francisco Examiner
    • 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.
    • 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.
    • 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.

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