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 2.1 points lower than other critics. (0-100 point scale)

Walter Addiego's Scores

  • Movies
Average review score: 57
Highest review score: 100 The Great Beauty
Lowest review score: 12 Grumpier Old Men
Score distribution:
  1. Positive: 48 out of 110
  2. Negative: 18 out of 110
110 movie reviews
    • 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.