William Arnold

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For 1,179 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 4.3 points higher than other critics. (0-100 point scale)

William Arnold's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Fallen Idol (re-release)
Lowest review score: 0 Domino
Score distribution:
1179 movie reviews
    • 38 Metascore
    • 67 William Arnold
    A slick and entertaining package.
    • 63 Metascore
    • 67 William Arnold
    Wahlberg is effective in the role and carries the movie nicely.
    • 70 Metascore
    • 67 William Arnold
    A real showcase for Penn, who seems to positively delight in playing a slimy, hateful character that most stars would not go near.
    • 61 Metascore
    • 67 William Arnold
    The cast is as likable as it is improbable (especially Nivola, who all but steals the movie as the charmingly decadent rocker).
    • 84 Metascore
    • 67 William Arnold
    While it's being sold as "an effervescent comedy," Happy-Go-Lucky is nothing of the sort. It's rather grim, the laughs are few.
    • 63 Metascore
    • 67 William Arnold
    The film is lovely to look at -- so overflowing with lavish furniture, jewelry and interiors that it's almost like a visit to Paris' Musée des Arts Décoratifs. If you're a fan of such things, "Pettigrew" is worth seeing solely for its sets.
    • 33 Metascore
    • 67 William Arnold
    A credible action spectacular.
    • 52 Metascore
    • 67 William Arnold
    The film is uniformly well cast, directed (by Alejandro Agresti, who also plays Valentin's father) with a certain flair and a good eye for the nuances of Buenos Aires. I found it light, agreeably short (86 minutes) and mostly quite enjoyable.
    • 37 Metascore
    • 67 William Arnold
    He's (Affleck) vaguely likable, but he's outshone by his co-stars and never particularly believable in his role.
    • 55 Metascore
    • 67 William Arnold
    Despite a consistent tone of all-out absurdity, it's a very demanding movie, and its goofiness is never inspired or laugh-out-loud funny enough to carry us along on its leap of imagination.
    • 71 Metascore
    • 67 William Arnold
    Some of the writing is very smart, its strain of show-business satire is dead-on and often hilarious, and some of the performances have an insanity and intensity reminiscent of "Dr. Strangelove."
    • 66 Metascore
    • 67 William Arnold
    Develops its own unique charm.
    • 47 Metascore
    • 67 William Arnold
    As imaginatively as some of them are staged, the action scenes are never authentically gripping. This seems to be the hidden handicap of our new digital filmmaking era in which all big action sequences are generated in the computer and look vaguely like cartoons.
    • 64 Metascore
    • 67 William Arnold
    It's a bold proposition, and the resulting film has some powerful moments and strong performances, but it fails to be an involving or satisfying drama, and it's not half as effective as the book in creating outrage over what junk food is doing to us.
    • 79 Metascore
    • 67 William Arnold
    It takes a strong stomach to sit through its two-plus hours of non-stop brutality (much of it involving very small children).
    • 38 Metascore
    • 67 William Arnold
    In the end, this could be the year's most sharply defined love-it-or-hate-it movie.
    • 30 Metascore
    • 67 William Arnold
    In no way is this a serious movie. Still, it's hard to resist.
    • 85 Metascore
    • 67 William Arnold
    A well-made but harrowing and extremely downbeat coming-of-age drama.
    • 76 Metascore
    • 67 William Arnold
    Very surprisingly, Meryl Streep is not wonderful as Schreiber's scheming, incestuously possessive mother. She gobbles up all the scenery but, for whatever reason, she's just not half as chilling a portrait of demented mother love as the original's Angela Lansbury.
    • 53 Metascore
    • 67 William Arnold
    It's only half of a good comedy. After a delicious opening and setup, the movie really doesn't go anywhere very interesting, and doesn't come close to any epiphanies about the subject at hand, even in subtext.
    • 64 Metascore
    • 67 William Arnold
    Bound to seem, at best, a kind of CliffsNotes guide to the novel's highlights, especially if the casting is not all that inspired.
    • 55 Metascore
    • 67 William Arnold
    The film is an audience-pleaser, but very calculated and far from Curtis' best work: His script will go to any lengths to be cute, and his direction tends to be overly broad. In the end, he wears us out with the sheer volume of witty and endearing characters.
    • 65 Metascore
    • 67 William Arnold
    While its execution is fine, the movie is almost shockingly vapid.
    • 69 Metascore
    • 67 William Arnold
    Crash can't rise from the ashes of its pessimism.
    • 25 Metascore
    • 67 William Arnold
    A pretty dreadful affair -- ludicrous as history and a veritable gallery of visual cliches.
    • 44 Metascore
    • 67 William Arnold
    This may sound like a satiric comedy, and its intriguing setup carries a faintly comedic tone, but the movie becomes more straight-faced as it moves along and ends up being a fairly serious examination on the nature of, and necessity for, faith.
    • 46 Metascore
    • 67 William Arnold
    Likely to provide many points of identification for many women.
    • 43 Metascore
    • 67 William Arnold
    It has moments of effectiveness, some of the performances -- especially Whitaker and Robert Ri'chard -- are moving.
    • 57 Metascore
    • 67 William Arnold
    It has some wonderful moments and a handful of delicious Maughamian characters.
    • 53 Metascore
    • 67 William Arnold
    To the movie's credit, the cast is better than average.
    • 60 Metascore
    • 67 William Arnold
    A pleasant, old-fashioned kind of a love triangle.
    • 65 Metascore
    • 67 William Arnold
    The most noteworthy thing about the Iraq war home-front drama, Grace Is Gone, is that Clint Eastwood composed its musical score and title song, which have both been garnering all sorts of accolades, including dual Golden Globe nominations.
    • 58 Metascore
    • 67 William Arnold
    Stars are particularly strong. Snipes' fatalism is totally appealing, and Rhames makes a curiously compelling antihero.
    • 54 Metascore
    • 67 William Arnold
    It's by far the most violent, most clinical and most sumptuously atmospheric.
    • 31 Metascore
    • 67 William Arnold
    Manages to squeeze by on Angelina Jolie's surprising flair for self-deprecating comedy.
    • 54 Metascore
    • 67 William Arnold
    A frequently amusing and consistently outrageous but ultimately tiresome farce.
    • 68 Metascore
    • 67 William Arnold
    The movie also is designed to be an actor's showcase for Norton and Giamatti, two of the best movie actors of their generation. Each has his moments of fire, but some element is missing from the script that would make this duel of the titans riveting.
    • 49 Metascore
    • 67 William Arnold
    It's the first Hanson movie in a decade that doesn't quite click into place.
    • 47 Metascore
    • 67 William Arnold
    All the good intentions in the world and solid performances from three of the biggest and most respected movie stars of our time cannot disguise the fact that Lions for Lambs is resting on a talky, disjointed and not-very-well-thought-out script.
    • 69 Metascore
    • 67 William Arnold
    All told, the movie also is a tremendous downer. The script goes for a vaguely upbeat conclusion, but it has no spiritual dimension that the viewer feels with any emotion, and it conveys a hopeless, pessimistic future for the interconnected world that it portrays.
    • 72 Metascore
    • 67 William Arnold
    It's rowdy, often tasteless and very much in the buddy-action vein of the scripts that made him famous, but in a much more comic spirit.
    • 55 Metascore
    • 67 William Arnold
    It's an enjoyable period romance. Yet, ultimately, the unique magic of Austen so beautifully caught in 1996's "Emma" is missing.
    • 53 Metascore
    • 67 William Arnold
    Jackman, who stepped in after a cranky Russell Crowe walked away in a salary dispute, strikes just the right chord as a scruffy romantic hero.
    • 36 Metascore
    • 67 William Arnold
    Ultimately, it's a surprisingly empty experience.
    • 42 Metascore
    • 67 William Arnold
    A straightforward, no-nonsense, agreeably old-fashioned historical action movie.
    • 53 Metascore
    • 67 William Arnold
    There's still enough of Doyle's hilariously foul dialogue and outrageous, culture-shocked Irish characters for the film to be a good bit of fun.
    • 54 Metascore
    • 67 William Arnold
    As energetic and irreverent as it is -- the movie never finds the inspired blend of edgy black comedy and gleeful journalistic adventure that it's after.
    • 58 Metascore
    • 67 William Arnold
    Never as visually or viscerally thrilling as some might expect, but it still manages to be a fascinating study of a national phenomenon that has had very little impact in our part of the country.
    • 47 Metascore
    • 67 William Arnold
    Several of the special-effects sequences -- a Tokyo hailstorm, a system of tornadoes ripping through L.A. (and tearing up the Hollywood sign), a tidal wave breaking on the East Side and washing through the canyons of Manhattan -- are just dandy.
    • 25 Metascore
    • 67 William Arnold
    In Costner's best moments, he makes us absolutely believe this character and feel his pain.
    • 70 Metascore
    • 67 William Arnold
    As the very traditional hero, Li keeps us riveted through the fisticuffs, and he also carries off the film's heavier dramatic moments well enough -- though, as always, his lack of a strong personality prevents the movie from ever genuinely catching fire.
    • 67 Metascore
    • 67 William Arnold
    (Bacon's) most believable, heart-wrenching and charismatic lead performance in many years.
    • 52 Metascore
    • 67 William Arnold
    Even though almost everything about it feels forced and its casting chemistry hardly sizzles, its heart is in the right place, it has its quota of funny and touching moments, and it's ultimately fairly enjoyable.
    • 72 Metascore
    • 67 William Arnold
    The story is patently implausible and unnecessarily confusing, and it works to a moral dilemma for its hero -- and a trick ending for the audience -- that resolves the action with so little satisfaction that you wish they hadn't bothered.
    • 44 Metascore
    • 67 William Arnold
    A kind of homage to that more simple and elegant time.
    • 62 Metascore
    • 67 William Arnold
    Definitely works as an action piece, it's often surprising and never boring, and several sequences had me positioned well on the edge of my seat.
    • 78 Metascore
    • 67 William Arnold
    In the lead, Anderson ("The X-Files") is competent but never quite makes the character come soaring to life.
    • 33 Metascore
    • 67 William Arnold
    An action buddy comedy is such an offbeat and inspired notion that it's impossible not to think of it without smiling.
    • 68 Metascore
    • 67 William Arnold
    A rare flub for the usually spot-on director and cast.
    • 65 Metascore
    • 67 William Arnold
    Patrice Leconte's new film, My Best Friend, is probably his lightest and sweetest to date. Fans of his serious historical dramas ("Ridicule") or raucous farces ("Les Bronzes") may be disappointed, but others should find it a reasonably enjoyable feel-good comedy.
    • 55 Metascore
    • 67 William Arnold
    The old formula is showing its age. The movie just doesn't deliver the emotional highs that addicted millions to the Rocky cycle. For the first time, one does not leave the theater floating on air. [16 Nov 1990, p.8]
    • Seattle Post-Intelligencer
    • 65 Metascore
    • 67 William Arnold
    As it turns out, the movie is still very much about two well-dressed undercover cops who strike sexy poses, express plenty of attitude and drive expensive cars and fast boats as pop music plays on the soundtrack and palm trees sway gently in the tropical night.
    • 65 Metascore
    • 67 William Arnold
    Not the most thrilling of competition films. There are only two short debate scenes, and each time the team gets to argue (in sound bites of rhetoric) the politically correct side of the issue.
    • 63 Metascore
    • 67 William Arnold
    In the best tradition of Annaud's work, Two Brothers works as an engrossing outdoor adventure and quasi-documentary.
    • 55 Metascore
    • 67 William Arnold
    Anges has nothing but affection for its characters and fondness for their quirkiness.
    • 64 Metascore
    • 67 William Arnold
    For all its good performances and family values, it's a painful movie to endure. It consists of watching this poor guy suffer one agonizing setback after another for nearly two hours, and its modest emotional payoff comes only in the final moments.
    • 58 Metascore
    • 67 William Arnold
    An engagingly whimsical, sporadically charming, frequently very funny Southern Gothic fantasy that somehow doesn't quite come together to be as magical or meaningful as it's intended to be.
    • 58 Metascore
    • 67 William Arnold
    Has its own peculiar charm.
    • 56 Metascore
    • 67 William Arnold
    It's nicely crafted, respectably acted and often quite compelling in a low-key way, but it doesn't have the kind of flair, impact or resonance we've come to expect from the director.
    • 80 Metascore
    • 67 William Arnold
    It's an interesting and eye-opening journey.
    • 86 Metascore
    • 67 William Arnold
    The movie is occasionally funny, always very colorful and enjoyably overblown in the traditional Almodóvar style; and the performances -- especially Javier Cámara as the gentle, sweet-spirited Benigno -- are exquisitely tender and moving.
    • 66 Metascore
    • 67 William Arnold
    It doesn't, as they say, really work -- but it's enjoyable enough in spots to leave one feeling passably entertained.
    • 50 Metascore
    • 67 William Arnold
    Make no mistake: This not high art. But it does its job without insulting our intelligence or unpleasantly jangling our nerves.
    • 33 Metascore
    • 67 William Arnold
    Far from a great movie, it nonetheless does its job as a family adventure and saga of a woman's personal growth.
    • 40 Metascore
    • 67 William Arnold
    Surprise! The remake is not a heresy. It's a decent enough stab at being what the old movie was to its time, following the same basic plot, full of respectful references to its model, updated with a gallery of fairly imaginative special effects.
    • 62 Metascore
    • 67 William Arnold
    It's the strangest comic-book superhero movie you're likely to see this year. For anyone looking for something totally different in this most overworked of Hollywood genres, this is it.
    • 67 Metascore
    • 67 William Arnold
    Even though he's strikingly played by Rockwell, Barris comes off as such a distasteful character and the silliness is so unrelenting that the movie wears you out. Long before it's over, you feel yourself reaching for that gong clapper.
    • 84 Metascore
    • 67 William Arnold
    As exciting and disturbing as it is in many ways, Children of Men -- based on a novel by P.D. James -- doesn't add up to a credible alternate view of the near-future: Its vision hasn't been well thought out, and, again and again, it struck me as a sloppy piece of storytelling.
    • 45 Metascore
    • 67 William Arnold
    A strangely mixed blessing filled with glossy production values and vibrant supporting performances but suffers mightily from a lack of credibility and the grinding predictability of its plot.
    • 62 Metascore
    • 67 William Arnold
    Low-voltage and forgettable.
    • 69 Metascore
    • 67 William Arnold
    The movie just seems like one more Hollywood cop-out, and a waste of our original emotional investment.
    • 30 Metascore
    • 67 William Arnold
    A not-bad ghost story that marks a comeback of sorts for its star, Michael Keaton, who hasn't top-billed a movie for almost a decade.
    • 61 Metascore
    • 67 William Arnold
    It may be that the Hulk role was not made for sensitive method actors like Norton or Bana. When '70s TV-"Hulk" Lou Ferrigno made his obligatory cameo, a palpable wave of affection swept through the Seattle preview audience.
    • 47 Metascore
    • 67 William Arnold
    It's far from strikingly original, but it's well-acted, skillfully plotted and moderately chilling, and it's something slightly different in the haunted-house genre.
    • 49 Metascore
    • 67 William Arnold
    Redford also deserves a lot of credit. It's not the kind of showcase that's going to earn him an Oscar, but, without too many compromises, he manages to find the soul of a difficult character and makes his emotional odyssey both believable and satisfying.
    • 29 Metascore
    • 67 William Arnold
    Plays like a series of well-done but disconnected acting-class sketches, filled with a huge cast of first-rate actors whose careers have all gone into decline.
    • 55 Metascore
    • 67 William Arnold
    It's a very slight and forgettable affair, and a formula job all the way. But it's easy to watch, the dance sequences are sporadically enjoyable (if hardly innovative) and Antonio Banderas is wonderfully magnetic and charming in the lead.
    • 32 Metascore
    • 67 William Arnold
    Rock, who seems to have studied every nuance of Beatty's Oscar-nominated comic performance -- is surprisingly appealing in what is often a straight role.
    • 73 Metascore
    • 67 William Arnold
    Ppaque and not hugely satisfying.
    • 53 Metascore
    • 67 William Arnold
    Doesn't completely work on its own terms, mainly because its romantic casting just doesn't spark: It doesn't make us fall in love with its lovers.
    • 45 Metascore
    • 67 William Arnold
    You may enjoy this complex, psychologically daring and visually stylish noir, which has been put together by director Bruce Evans ("Kuffs") with few dull moments and virtually none of the black humor you might expect from the premise.
    • 69 Metascore
    • 67 William Arnold
    It's bound to be the love-it-or-hate-it movie of 2003.
    • 60 Metascore
    • 67 William Arnold
    There's no mistaking the fact that this hybrid misses the impact of the Disney classic, and even that of the excellent 1934 MGM version. Both of these films are surprisingly hard-edged and every bit as thrilling -- and scary -- as Stevenson's 1883 novel.
    • 47 Metascore
    • 67 William Arnold
    Despite some engaging performances and good scenes, it's by far the least original, and least accomplished, of the six Redford-directed films.
    • 50 Metascore
    • 67 William Arnold
    For some reason, the emotional payoff of the film -- the healing of a dysfunctional family -- doesn't quite come off. Possibly this is because Franco doesn't generate the necessary sympathy or father-son chemistry with De Niro, possibly because it's just not in the script.
    • 61 Metascore
    • 67 William Arnold
    While there are good things about it, Stop-Loss is nothing spectacular.
    • 83 Metascore
    • 67 William Arnold
    As riveting as it may be, his film is a total shaggy-dog story.
    • 62 Metascore
    • 67 William Arnold
    The bad news in this kinder, gentler, more subtle performance is that, by playing the woman (Streep) as less of a devil, the dynamic that propels the story loses much of its drive and energy, and what's left is a kind of high-class "Gidget" movie.
    • 69 Metascore
    • 67 William Arnold
    Griffin & Co. manage to be spectacularly outrageous, several of the gag sequences are hilariously imaginative and there's something almost deliciously liberating in the film's determination to make good-natured fun of what previously has been a very sacred movie cow.
    • 52 Metascore
    • 67 William Arnold
    An often trying and not wholly successful but highly ambitious and ultimately rewarding mental-institution movie that strongly echoes the 1966 classic of the genre, "King of Hearts."
    • 83 Metascore
    • 67 William Arnold
    Often distastefully juvenile.
    • 49 Metascore
    • 67 William Arnold
    When a filmmaker heavy-handedly imposes his contemporary values on a classic of popular art, it's devilishly hard not to destroy or invalidate the very thing that made it a classic.
    • 55 Metascore
    • 67 William Arnold
    Belongs to that distinctly '90s genre of sadistic crime comedy whose time has clearly come and gone.
    • 62 Metascore
    • 67 William Arnold
    None of it is truly inspired, but Murray's deadpan presence holds it all together.
    • 70 Metascore
    • 67 William Arnold
    As the most diabolically focused and politically incorrect cop this side of Popeye Doyle, Liotta is a hot prospect for this year's supporting-actor Oscar.
    • 55 Metascore
    • 67 William Arnold
    Its overall impact is soothing and reassuring without being overtly manipulative, propagandistic or flag-waving.
    • 67 Metascore
    • 67 William Arnold
    The sum of all this is moderately rousing and deliciously irreverent in the Moore style, but not earthshaking as journalism, and devoid of anything that the average person doesn't already know from reading the newspaper.
    • 48 Metascore
    • 67 William Arnold
    Has an unforced, pleasingly New Age feel to it; an unexpected but satisfying ending (a la "Shrek"); and a script that -- despite its overdone, body-switching premise -- comes together to nicely convey a cogent, environmentally conscious moral lesson.
    • 43 Metascore
    • 67 William Arnold
    One of the year's few sci-fi films that actually takes itself seriously, and a movie that goes a long way on the strength of its unique premise, steady performances and impressive visual style.
    • 43 Metascore
    • 67 William Arnold
    It doesn't really come off, but it's an admirably ambitious, and mostly very engaging, coming-of-age adventure that apes the spirit of Joseph Conrad.
    • 75 Metascore
    • 67 William Arnold
    There are no fresh revelations and the film can't touch Paul Schrader's 1988 drama, "Patty Hearst," as an inside account.
    • 76 Metascore
    • 67 William Arnold
    The result bears so little resemblance to the original that you have to wonder what happened. It seems more a remake of "How the West Was Won" than 3:10 to Yuma.
    • 57 Metascore
    • 67 William Arnold
    It's harmless fun, and it makes for an often impressive display of the latest generation of computer-wizardry. But the enterprise is utterly void of substance: instantly forgettable and about as enriching as a rerun of "Johnny Quest."
    • 52 Metascore
    • 67 William Arnold
    Diane Lane overplays many scenes, she tries way too hard to be ingratiating and, in many other ways, it's one of the least of her performances.
    • 44 Metascore
    • 67 William Arnold
    Much of this movie is very funny, it has some genuinely endearing moments.
    • 33 Metascore
    • 67 William Arnold
    If you find her (Ryan) distinctive persona to be too irritatingly cute to bear, this mannered movie is likely to play like fingernails on a blackboard .
    • 48 Metascore
    • 67 William Arnold
    Hawn mows down everything in her path with a giggle. It's great fun to watch her just eat up this movie.
    • 68 Metascore
    • 67 William Arnold
    Charlize Theron, playing the one woman member of the team, handily steals the movie from the guys with her no-nonsense display of verve and vulnerability.
    • 84 Metascore
    • 67 William Arnold
    It's a daring failure that should delight many devotees of Classic Hollywood.
    • 58 Metascore
    • 67 William Arnold
    For what it's worth, the film also goes out of its way to be a lavish visual re-creation of the 1880s.
    • 71 Metascore
    • 67 William Arnold
    Predictable but entertaining kid movie.
    • 55 Metascore
    • 67 William Arnold
    But the movie goes absolutely nowhere. It allows us to be a fly on the wall to a whirlwind of gossip, confessions and intimate moments. But when the ending comes, it's an epic letdown. It's just so much Oprah-esque eye candy, without a point of view, or a plot.
    • 56 Metascore
    • 67 William Arnold
    It's a mixed blessing.
    • 51 Metascore
    • 67 William Arnold
    Has a delightfully nasty villain and pumped-up action, albeit along familiar lines.
    • 43 Metascore
    • 67 William Arnold
    Like most Price movies, it's challenging, engaging and free of the usual thriller cliches.
    • 60 Metascore
    • 67 William Arnold
    The film's European locations, sets (in Rome's Cinecitta studios) and photography are unusually striking; Rachel Portman contributes an elegant score; and Holm (who played the emperor once before in 1981's "Time Bandits") embodies the character with an effortlessly regal charisma.
    • 71 Metascore
    • 67 William Arnold
    The film -- Lelouch's 49th in 41 years -- stars Fanny Ardant as a glamorous, beautiful and phenomenally popular Parisian novelist who we first see in a flash-forward as she's being hauled into the Sureté, interrogated and formally charged with murder.
    • 68 Metascore
    • 67 William Arnold
    The only difference between the two films is that this one chronicles Capote's New York environment in more detail (and with humorous interludes), and it's a tad lighter in tone and perhaps a bit less high-horse condemning of its subject's literary ethics.
    • 70 Metascore
    • 67 William Arnold
    The ordeal undeniably strikes an emotional chord, and much of this is due to Holmes, who wonderfully communicates both the character's streak of rebellion and her desire to atone. The movie is a solid star vehicle for her.
    • 35 Metascore
    • 67 William Arnold
    Not surprisingly, the best thing on the screen is Mirren.
    • 57 Metascore
    • 67 William Arnold
    While the movie may border on teen exploitation in many scenes, its heart and values are mostly in the right place, and it qualifies its thrill of victory with a very sober message: few high school athletes become NBA millionaires, many are cheated out of an education.
    • 52 Metascore
    • 67 William Arnold
    It's a handsome production, nicely shot by Elliot Davis on Italian and Moroccan locations, with a performance by Castle-Hughes ("Whale Rider") as the Virgin that's so pleasing and minimalist it could have been lifted from a fresco by Giotto.
    • 48 Metascore
    • 67 William Arnold
    The truly bizarre Ben Stiller farce, Night at the Museum, is no laugh riot, and misfires all over the screen, but it develops its own unique charm and leaves a pleasant afterglow. A family audience could do worse for a comedy this holiday season.
    • 72 Metascore
    • 67 William Arnold
    All or Nothing has some appealing performances, several scenes of absolutely shattering domestic drama and an uncanny aura of gut-wrenching, documentarylike authenticity.
    • 65 Metascore
    • 67 William Arnold
    It induces a serious case of sensory overload that left me drained and edgy.
    • 61 Metascore
    • 67 William Arnold
    Only a qualified success. It suffers in its transition from page to film, and my guess is that its devoted fan base will think the adaptation misses the mark by more than a few inches.
    • 33 Metascore
    • 67 William Arnold
    Has a certain ghoulish fascination, and generates a fair amount of B-movie excitement.
    • 71 Metascore
    • 67 William Arnold
    It's unspeakably morbid, and never adds up to be something special.
    • 40 Metascore
    • 67 William Arnold
    It's a parade of insanity, murder, suicide, arson and crimes of passion; delivered in a style as sardonic and tongue-in-cheek as a Vincent Price monologue; complemented by deadpan narration that keeps injecting inappropriate bits of civic boosterism.
    • 47 Metascore
    • 67 William Arnold
    It's an art-house genre piece, very much in the tradition of "Enchanted April," "Shirley Valentine" and "Under the Tuscan Sun." But, a few charming scenes aside, A Good Year is in the hands of the wrong star and wrong director.
    • 59 Metascore
    • 67 William Arnold
    The story line is the typical M:I labyrinthine mess, made even more confusing by the always challenging Robert Towne as screenwriter, and by the continuation and overuse of the flawlessly lifelike "mask" device established in Part One.
    • 67 Metascore
    • 67 William Arnold
    Lee doesn't seem to have the slightest sympathy for his hero, no particular point is made, and the whole exercise seems cold and empty.
    • 48 Metascore
    • 67 William Arnold
    Truth be told, the film is routine: the kind of one-note war movie that Hollywood used to crank out by the dozens every year in the 1950s.
    • 42 Metascore
    • 67 William Arnold
    Definitely still beating a dead dinosaur here, but the film is leaner, more exciting and superior in every way to the last outing.
    • 58 Metascore
    • 67 William Arnold
    With its machine-gun editing, extremely loud (mostly rap) soundtrack, occasional music-video interlude and overall in-your-face sensibility, it's a movie that's determined to chase anyone past age 30 or so right out of theater.
    • 55 Metascore
    • 67 William Arnold
    It's more intelligent than most Hollywood movies you'll find in the heat of summer, and its saving grace is the quality of its acting, including Jackson's uncompromising turn as the old fighter, and delicious bits by David Paymer and Alan Alda as veteran editors.
    • 51 Metascore
    • 67 William Arnold
    Imaginative and frequently thrilling, and the love-hate relationship of its protagonists is quite compelling; Woo is always at his best in portraying the complexities of male bonding under intense pressure and violence.
    • 44 Metascore
    • 67 William Arnold
    It still celebrates the vigilante spirit and justice delivered with a biblical swiftness, but it has been cleansed of much of its gratuitous violence and more offensive red-neck sensibilities. Mercifully, it's also a full 40 minutes shorter than the original.
    • 75 Metascore
    • 67 William Arnold
    It's not nearly as good as "Women," but it's still his most likable film since, and there is some definite magic in it. [5 Apr 1996]
    • Seattle Post-Intelligencer
    • 89 Metascore
    • 67 William Arnold
    It's exuberant, exhilarating, poetic and -- intentionally and not -- rather silly.
    • 67 Metascore
    • 67 William Arnold
    One of the American cinema's rare excursions into pure autobiography: the movie is Montiel's own coming-of-age story, with little or nothing disguised as fiction.
    • 45 Metascore
    • 67 William Arnold
    Spurlock is good company: a more likable, less abrasive, less manipulative Michael Moore.
    • 37 Metascore
    • 67 William Arnold
    This one is a kiddie show all the way, with characters as broad and one-dimensional as a billboard, a vision of good and evil as simple as a bumper sticker and a tiresome chimpanzee mugging through every other scene like something from a bad Tarzan movie.
    • 72 Metascore
    • 67 William Arnold
    Well-cast and sporadically gripping.
    • 55 Metascore
    • 67 William Arnold
    Hopkins' Picasso is a first-rate performance.... With his intense stare, his air of subtle lechery, and his life-devouring zest, he not only looks uncannily like the real Picasso, he was actually able to convince me that he was Picasso. [4 Oct 1996]
    • Seattle Post-Intelligencer
    • 61 Metascore
    • 67 William Arnold
    An absorbing little drama full of unexpected revelations, keen insights into the Anglo and Hispanic cultures of L.A., and strong supporting performances.
    • 85 Metascore
    • 67 William Arnold
    The characters are not hugely compelling, the performances never completely grab us, and much of the story, while visually arresting, is dramatically tedious.
    • 59 Metascore
    • 67 William Arnold
    It dares to test the audience in several ways: It may not be Asimov but its plot is truly labyrinthine, it works a specific theme (the very real possibility that robots will evolve on their own) and it's happy to end itself in a shroud of enigma.
    • 48 Metascore
    • 67 William Arnold
    Much of it is funny and endearing, and its toned-down star, Adam Sandler, is as winning as he's ever been.
    • 39 Metascore
    • 67 William Arnold
    But the movie's vital signs improve remarkably in the second half, and especially in the last act. The proceedings suddenly pick up some screwball charm, the writing improves (with several truly inspired one-liners tossed in here and there) and the secondary characters begin to click.
    • 50 Metascore
    • 67 William Arnold
    Kline saves the movie and makes it something special. He does this not only by mastering the dialect and mannerisms and convincing us he is French, but by skillfully underplaying the character and slowly revealing his humanity. It's a master star turn: He makes a better Gerard Depardieu than Gerard Depardieu. [5 May 1995, p.28]
    • Seattle Post-Intelligencer
    • 46 Metascore
    • 67 William Arnold
    Sporadically enjoyable but instantly forgettable comedy.
    • 67 Metascore
    • 67 William Arnold
    Unfortunately, the film assumes viewers have such a vast knowledge of Fellini's life and films that it's likely to play best to graduate film students.
    • 49 Metascore
    • 67 William Arnold
    This 38th Allen film (and third in a row to be set in London) is a drama about two brothers that's so heavy in tone it seems inspired by Greek tragedy and the grimmest '40s film noir.
    • 65 Metascore
    • 67 William Arnold
    An engaging but essentially routine tragic romance.
    • 31 Metascore
    • 67 William Arnold
    It's only a notch above the routine, and it obeys all the conventions of its tired formula, but it also tones the anarchy with a serious edge and it works a surprisingly effective vein of race-relations satire.
    • 48 Metascore
    • 67 William Arnold
    Even if it lacks the finesse of Franklin's earlier work, High Crimes moves like a bullet.
    • 50 Metascore
    • 67 William Arnold
    Essentially works, even though the script is a mess and John Singleton's direction is often clumsy and heavy-handed to an annoying degree.
    • 52 Metascore
    • 58 William Arnold
    There's no disguising the fact that, beneath all its talk, this is a very traditional, very predictable romance; it's sorely in need of some comic relief; and, if you're a non-smoker, you will get very tired of its heroine blowing smoke in your face.
    • 61 Metascore
    • 58 William Arnold
    In some ways, De Niro does a competent job in his second directorial effort but his characterizations are clumsy, and his members of the Power Elite always seem less real people than stick figures in a propaganda movie.
    • 55 Metascore
    • 58 William Arnold
    The characters are uniformly repulsive, the cliche-ridden script builds no real tension or psychological interest, and the bottom line is that Lee's innovative but ultimately tedious and even ludicrous MTV-style visuals add absolutely nothing to the story dynamics.
    • 53 Metascore
    • 58 William Arnold
    It never generates much interest in its story or affection for its characters, and it's simply not half as funny as it needs to be.
    • 25 Metascore
    • 58 William Arnold
    The cruel simplicity of the atrocity is made needlessly chaotic by artless camerawork that swishes rapidly back and forth across the action, to the accompaniment of a syrupy soundtrack.
    • 51 Metascore
    • 58 William Arnold
    It's a movie brimming with good intentions, solid production values and searing performances. However, it never quite clicks into place with any real satisfaction.
    • 64 Metascore
    • 58 William Arnold
    It's in English, but the actors speak it with tortuous accents that are a constant struggle to understand and make them seem like foreigners in their own land. Spanish with English subtitles would have served this story much, much better.
    • 30 Metascore
    • 58 William Arnold
    Lacks the driving unity that gave "Gettysburg" its focus, dramatic arc, climax and catharsis.
    • 32 Metascore
    • 58 William Arnold
    When the film suddenly turns into "Rocky" -- as all boxing films of the past two decades invariably do -- it invalidates its theme.
    • 51 Metascore
    • 58 William Arnold
    There's also a terrific performance from Collette, who, in only a handful of scenes, wonderfully communicates the unusual resourcefulness of a demented woman who has spent her life assuming a succession of physical handicaps as a survival technique.
    • 34 Metascore
    • 58 William Arnold
    Sadly, it's a disappointment. Nicole Kidman could hardly be more enchanting in the lead, but the script is one of writer-director Nora Ephron's weakest.
    • 62 Metascore
    • 58 William Arnold
    Without the saving grace of comedy, Martin's natural abrasiveness is off-putting, and he just doesn't have the stuff of a romantic lead.
    • 68 Metascore
    • 58 William Arnold
    To be fair, Aronofsky has a knack for stylistic overkill, and his hammering onslaught is undeniably riveting, at first anyway.
    • 38 Metascore
    • 58 William Arnold
    Somehow the elements do not add up to by anything especially memorable.
    • 57 Metascore
    • 58 William Arnold
    Unfortunately, the goofiness never quite finds its groove. The romantic chemistry is tepid, the comedy misses as often as it hits, the picaresque plot keeps dogging down and even actors as skilled as Platt, Irons and Lena Olin fail to register strongly in their roles.
    • 35 Metascore
    • 58 William Arnold
    A rather dull movie.
    • 52 Metascore
    • 58 William Arnold
    In fact, when not kicking butt, (Li)'s kind of a blank spot in the center of the screen.
    • 49 Metascore
    • 58 William Arnold
    The script's labored efforts to push the proceedings into a thought-provoking military drama -- and draw some clear moral issue -- are, at best, flimsy.
    • 51 Metascore
    • 58 William Arnold
    Its animation is simply glorious, but its story and characters are trite.
    • 48 Metascore
    • 58 William Arnold
    It's overblown and greedy and feels like more of a merchandizing scheme than a movie.
    • 63 Metascore
    • 58 William Arnold
    Clearly not Zhang's forte, his directorial touch is neither light nor magical enough to bring off this kind of whimsy, his characters often seem contrived and unbelievable, and his movie comes off as slightly forced and naggingly unsatisfying.
    • 56 Metascore
    • 58 William Arnold
    It's just never as gripping as it needs to be.
    • 31 Metascore
    • 58 William Arnold
    The movie depends on one of those big surprise endings for its effectiveness, but the script gives itself away in the first act.
    • 65 Metascore
    • 58 William Arnold
    It all comes together to be a remarkably dull movie.
    • 62 Metascore
    • 58 William Arnold
    Never quite rises above its one-joke situation.
    • 62 Metascore
    • 58 William Arnold
    Next to "Bad Santa" or "Dr. Seuss' The Cat in the Hat," it's a paragon of sophistication.
    • 55 Metascore
    • 58 William Arnold
    It's hard to recall another time when the cross-purposes of two collaborating filmmakers of a major film has been quite so evident, or when the theme of the movie itself has been so totally schizophrenic -- half populist outrage, half Nazi.
    • 53 Metascore
    • 58 William Arnold
    Amateur, the fourth film of American independent filmmaker Hal Hartley, is by far his best - though, in the wake of "The Unbelievable Truth," "Trust" and "Simple Men," that is, admittedly, not saying much. [05 May 1995]
    • Seattle Post-Intelligencer
    • 45 Metascore
    • 58 William Arnold
    Witherspoon shines. She's never looked better, and she carries herself with both her usual comedic flair and a surprising elegance.
    • 49 Metascore
    • 58 William Arnold
    At 86 minutes, Sleuth '07 plays like a Cliffs Notes version of the original (which was skillfully adapted by Anthony Shaffer from his own hit play) with far too much of its pacing and delicious texture ruthlessly cut.
    • 36 Metascore
    • 58 William Arnold
    The futuristic thriller is overly familiar and never especially gripping -- and too somber and cerebral for the young action crowd -- but it looks terrific and is in no way an embarrassment.
    • 40 Metascore
    • 58 William Arnold
    Cult-favorite director Victor Salva ("Jeepers Creepers" I & II) is a competent visual storyteller and the film believes in itself so strongly (and with such a straight face) that it's hard not to halfway enjoy it.
    • 49 Metascore
    • 58 William Arnold
    It wants to be both an art-film homage and a rollicking, outrageous sex farce, and it's not really enough of either to make an impression.
    • 59 Metascore
    • 58 William Arnold
    It would be very possible for a reasonably intelligent person to sit through its tidal wave of imagery and not get this vision at all.
    • 36 Metascore
    • 58 William Arnold
    Imparts its fair share of laughs but bogs down after a solid start and never makes anything special out of its premise.
    • 40 Metascore
    • 58 William Arnold
    Diaz is quite believable in the part, and gets solid support from Brewster, who is even more appealing as the adoring, wounded and somewhat vacuous younger sister.
    • 47 Metascore
    • 58 William Arnold
    Ford tries very hard to be eccentrically funny -- to the point of forced, slapsticky mugging -- but he looks terrible, his timing is way off and his character is so uptight, abrasive and unappealing that he makes miserable company.
    • 79 Metascore
    • 58 William Arnold
    The movie is never engaging on anything but a superficial level, and it gradually gets decidedly tiresome.
    • 53 Metascore
    • 58 William Arnold
    Conceptually, the film is unique - it's a kind of nostalgia movie within a nostalgia movie. [16 Apr 1999]
    • Seattle Post-Intelligencer
    • 64 Metascore
    • 58 William Arnold
    Fans of figuring skating will enjoy much of the silliness, however, because its better moments have fun lampooning all the hoopla that surrounds the sport and there are cameos from the likes of Dorothy Hamill, Nancy Kerrigan, Brian Boitano, Peggy Fleming and Sasha Cohen.
    • 64 Metascore
    • 58 William Arnold
    There's an enjoyably literate style here and some humorous moments.
    • 31 Metascore
    • 58 William Arnold
    Cliched, mostly routine and never especially satisfying.
    • 52 Metascore
    • 58 William Arnold
    The film wants to be "The English Patient" but doesn't have the elements that made that film a classic: sensitivity, perfect casting, a unique visual style and, underlying its grand action romance, a stubborn sense of honesty.
    • 42 Metascore
    • 58 William Arnold
    A mildly amusing but forgettable and way-too-scatological black farce.
    • 77 Metascore
    • 58 William Arnold
    The mock trailers are for impossibly schlocky Z-movies with titles like "Machete," "Don't Scream," "Thanksgiving" and "Werewolf Women of the S.S." They're by far the funniest part of the program, possibly because they're mercifully brief.
    • 28 Metascore
    • 58 William Arnold
    The script starts repeating its best gags about halfway through, and the direction gets ever broader as it goes along until the film finally loses all effectiveness as satire.
    • 52 Metascore
    • 58 William Arnold
    So lame and Woody himself seems so worn down and the humor is such a pale shadow of the former Allen brilliance that -- despite a few chuckles here and there -- it's a considerable disappointment.
    • 41 Metascore
    • 58 William Arnold
    The results are moderately entertaining, but the humor is broad and shallow; the film has none of the irony, bite or wit of its predecessor; and the script (by Glenn Gers) seems so calculated to appeal to every conceivable female demographic that it always feels contrived.
    • 53 Metascore
    • 58 William Arnold
    The script is full of holes and the premise is not especially credible.
    • 72 Metascore
    • 58 William Arnold
    It's vintage Moore: on one level the courageous act of a gutsy journalist, and, on another, a callously unfair and self-serving spectacle that makes Moore seem like a big bully, and puts his audience into the position of a vigilante mob.
    • 51 Metascore
    • 58 William Arnold
    Will Statham make it as an action hero? Hard to say. His personality makes Vin Diesel look positively debonair.
    • 25 Metascore
    • 58 William Arnold
    In the acting contest that ensues, each star comes off reasonably well, though, surprisingly, Lohan (who had well-publicized emotional problems on the set) wins out over Huffman's comic drunk and Fonda's leathery evocation of her father, Henry, in "On Golden Pond."
    • 76 Metascore
    • 58 William Arnold
    A fairly routine heist drama and a never especially believable puzzle film.
    • 50 Metascore
    • 58 William Arnold
    It's an even more tedious storytelling mess, with a plot so muddled it's impossible to accurately describe, generating zero interest in its characters and grinding on for nearly three endless hours.
    • 55 Metascore
    • 58 William Arnold
    Wilson's shtick actually works better with Stiller than it did with either of his former partners, Jackie Chan and Eddie Murphy.
    • 40 Metascore
    • 58 William Arnold
    Piñero never comes close to convincing us that this guy is worth a movie at all.
    • 38 Metascore
    • 58 William Arnold
    Murphy is remarkably convincing -- even endearing -- as each of the characters.
    • 48 Metascore
    • 58 William Arnold
    Travolta has dusted off his folksy Southern character from "Primary Colors" (one of his most acclaimed roles) and he has his moments with it.
    • 45 Metascore
    • 58 William Arnold
    The real bottom line here is that the character just doesn't make much sense.
    • 49 Metascore
    • 58 William Arnold
    Inferior remake.
    • 42 Metascore
    • 58 William Arnold
    Its overall effect is distinctly underwhelming.
    • 41 Metascore
    • 58 William Arnold
    It's very slick and small children will enjoy it, but it has little of its model's special magic.
    • 38 Metascore
    • 58 William Arnold
    The holiday movie season's only epic fantasy adventure, certainly gets no points for originality. It's such a clone of "The Lord of the Rings," it probably could lose a plagiarism suit. There's also a heavy dash of "Harry Potter." All bases are covered.
    • 46 Metascore
    • 58 William Arnold
    It also has been retooled to be a Farrelly brothers comedy, which means most of Simon's wit has been replaced with gags involving S&M cruelty, explicit bestiality, flatulence, nose mucous, people urinating on each other, and foul-mouthed old men (Stiller's father, Jerry).
    • 83 Metascore
    • 58 William Arnold
    Paranoid Park is a movie about its teen hero's inability to express his feelings: to himself, to his parents, to his friends and, unfortunately, to the audience.
    • 59 Metascore
    • 58 William Arnold
    In his determination to lighten the heavy subject matter, Silberling also, to a certain extent, trivializes the movie with too many nervous gags and pratfalls: to the point where his heartfelt drama comes perilously close to tasteless comedy.
    • 33 Metascore
    • 58 William Arnold
    Romano just doesn't have the stuff to bring off a role that requires a Jimmy Stewart or Tom Hanks. He's supposed to be overshadowed by his nemesis, of course, but Hackman chews him up and spits him out so effectively that the movie is glaringly lopsided.
    • 50 Metascore
    • 58 William Arnold
    Kidman's performance is the best thing in the movie, but it's not at all appealing.
    • 68 Metascore
    • 58 William Arnold
    Fascinates by its very premise: the fact that, on the basis of a Web site logo, these two bozos could so easily pass themselves off as important officials.
    • 39 Metascore
    • 58 William Arnold
    A slow-moving, unashamedly weepy, middle-age love story of the kind big-studio Hollywood doesn't often make anymore.
    • tbd Metascore
    • 58 William Arnold
    The star-crossed love story that takes up most of the movie-within-the-movie is strangely compelling, and Douglas gives a believable, often powerful performance as a man in the process of discovering the karmic ripple effect of a closed-off life.
    • 52 Metascore
    • 58 William Arnold
    Ultimately, the script lacks the ambiguity, irony and heartfelt emotion that would make the conversion of a dozen hardened criminals very credible, and -- despite its obvious good intentions -- the movie seems pat, simplistic and slightly phony.
    • 52 Metascore
    • 58 William Arnold
    Zellweger is a gifted comedienne and her wonky persona sparks here and there, but the humor is so broad that the film is a poor stage for her subtle comedic skills, and she's not photographed well: her face has to be lit just so or it tends to looks strangely distorted. McGregor is terrible casting.
    • 39 Metascore
    • 58 William Arnold
    The movie offers several moments in which Williams comes alive, but they're few and far between.
    • 59 Metascore
    • 58 William Arnold
    Surprisingly, the weak link is Dunst, who's previously been the delight of all her movies.
    • 50 Metascore
    • 58 William Arnold
    It finally just rings false as a human drama.
    • 36 Metascore
    • 58 William Arnold
    Director Jonathan Frakes keeps the tone just this side of tongue-in-cheek.
    • 33 Metascore
    • 58 William Arnold
    The bright spot is Seann William Scott ("Dude, Where's My Car?") as Bo Duke. His good-naturedly maniacal manner and early Dennis Quaid killer smile are endearing, to the point where he occasionally threatens to elevate the movie into something special.
    • 66 Metascore
    • 58 William Arnold
    You've already seen this movie, right? Just a few months ago. It was called "The Score."
    • 36 Metascore
    • 58 William Arnold
    For genre fans, the horde-of-locust sequence may alone be worth the price of admission.
    • 58 Metascore
    • 58 William Arnold
    A fairly underwhelming experience for man or child -- not so much bad as just more of the same, with little of the original's novelty or freshness.
    • 62 Metascore
    • 58 William Arnold
    Sadly, it's still a plodding affair that's low on plausible character motivation and compelling action scenes, and it's still not much of a showcase for its star, Charlton Heston.
    • 56 Metascore
    • 58 William Arnold
    Passably entertaining.
    • 72 Metascore
    • 58 William Arnold
    For all its f/x pageantry, it is rather tired, as if it's the third sequel of a franchise, not the initial episode.
    • 54 Metascore
    • 58 William Arnold
    It's the first film I know of in which we get to see all five of the top-billed actors vomit
    • 65 Metascore
    • 58 William Arnold
    A clumsy and incompetent thriller for nine-tenths of its length, but it has an ending so clever and that goes so wildly against expectations it almost exonerates the film.
    • 46 Metascore
    • 58 William Arnold
    It fails to persuade us that its subject is significant enough to be worth a movie.
    • 37 Metascore
    • 58 William Arnold
    Refreshingly old-fashioned.
    • 46 Metascore
    • 58 William Arnold
    (Bullock's) performance, and the movie's serious side, soon get lost in an overly slick script.
    • 69 Metascore
    • 58 William Arnold
    It was also a miscalculation to make the film so sexually explicit. It doesn't particularly serve the story and, for all his gifts, Macy is just not the kind of actor most people want to see in a whirl of sweaty, naked sex.
    • 38 Metascore
    • 58 William Arnold
    The movie's problem is that it's a cartoon, offering no emotional involvement with its characters and no dramatic imperative.
    • 34 Metascore
    • 58 William Arnold
    A fairly hypocritical exercise -- and one that's so flamboyant and overbearing that it comes perilously close to being a classic awful.
    • 38 Metascore
    • 58 William Arnold
    The script is tight and well-constructed, director Ernest Dickerson has a feel for film-noir aesthetics, DMX exudes a certain brutish charisma and the movie is as morbidly compelling as a good train wreck.
    • 70 Metascore
    • 58 William Arnold
    After its irresistible first act, Owning Mahowny loses its energy and focus very fast.
    • 45 Metascore
    • 58 William Arnold
    There's much to admire in this ambitious indie: top-notch production values, a gallery of evocative period detail (with location work on Scotland's famed St. Andrews' course) and solid performances from a cast .
    • 44 Metascore
    • 58 William Arnold
    Exotic Ninth Gate breaks down into clichés.
    • 45 Metascore
    • 58 William Arnold
    Visnjic is charismatic, sympathetic and believable in the role, and the first part of the film -- in which he's being drawn into the case against his will and then use his hypnotic skills to get inside the mind of the little girl -- is quite riveting.
    • 85 Metascore
    • 58 William Arnold
    The movie is so surreal it's just not very involving. As an action extravaganza, it's busy but dull.
    • 64 Metascore
    • 58 William Arnold
    Despite some moments, the movie stubbornly fails to be the kind of sparkling ensemble piece one would expect from its credits -- and the fault seems to lie squarely with Fry's unfocused script, lackadaisical direction and conceptual sleight of hand.
    • 40 Metascore
    • 58 William Arnold
    For all its improbable characters, wretched dialogue and stock situations, the movie has an earnest dumbness that sneaks up on you to be surprisingly entertaining.
    • 52 Metascore
    • 58 William Arnold
    Despite laughs, the movie only sporadically works. Its satire is too broad and silly to have much sting.
    • 55 Metascore
    • 58 William Arnold
    The movie is not exciting, original or instructive enough to justify the unpleasant experience.
    • 52 Metascore
    • 58 William Arnold
    Treu's sweet-spirited vision of life, and the winning performances of his ensemble of kid actors, gradually broke down most of my resistance.
    • 56 Metascore
    • 58 William Arnold
    Max
    No doubt about it, the movie is morbidly fascinating. Moreover, Cusack gives a delicate and agreeably world-weary performance.
    • 45 Metascore
    • 58 William Arnold
    Quickly assumes the characteristics of a bad slasher movie.
    • 40 Metascore
    • 58 William Arnold
    There are a handful of funny moments, and the top end of the cast comes off rather well. Duchovny has some of that same easygoing likability that made Glenn Ford one of the biggest stars of the '50s.
    • 47 Metascore
    • 58 William Arnold
    A forgettable, patched-together clone of other ghostly romances.
    • 44 Metascore
    • 58 William Arnold
    Directed with a Scorsese-ish flair by actor John Shea (who also plays a small part), the film is loaded with gritty atmosphere and touches of authenticity. [12 Jun 1998]
    • Seattle Post-Intelligencer
    • 46 Metascore
    • 58 William Arnold
    It offers a handful of funny and touching moments and maintains a level of cuteness. But it's far from original, and its star chemistry doesn't exactly light up the screen.
    • 49 Metascore
    • 58 William Arnold
    The casting is hit-and-miss. OutKast's Benjamin and "Troy's" Hedlund are weak, but Gibson is very appealing and the movie powers along on a strong lead performance by Wahlberg, who has never seemed more confident, commanding or scruffily charismatic.
    • 44 Metascore
    • 58 William Arnold
    Unknown seems fairly stale and unoriginal, mainly because it's yet another movie with the short-term memory loss premise ("Memento," "Fifty First Dates," etc.), and it comes so late in the cycle that it feels like a dying gasp.
    • 34 Metascore
    • 58 William Arnold
    Has a good cast, a nicely sustained mood of paranoia and several genuinely creepy moments, but ultimately ends up being one more highly formulaic teen screamer.
    • 50 Metascore
    • 58 William Arnold
    It never quite adds up to anything. It's engaging enough while it's going on, but has little visceral impact or resonance.
    • 35 Metascore
    • 58 William Arnold
    It's never hugely engaging and it's instantly forgettable, but it has a certain goofy charm.
    • 59 Metascore
    • 58 William Arnold
    Annoyingly shallow, filled with one-note characters, and not half as daring as it seems to think it is.
    • 27 Metascore
    • 58 William Arnold
    Anyone in the market for a bittersweet romantic comedy could do worse.
    • 38 Metascore
    • 58 William Arnold
    By the time we get to the unsurprising surprise ending, what seemed innovative and challenging in Taking Lives has lost its juice and reverted to formula form, and we leave the theater with that same old let-down feeling of having endured a ritual one more time.
    • 47 Metascore
    • 58 William Arnold
    The movie is full of action and stunts, but after the gangbusters opening, it loses steam and imagination very quickly.
    • 76 Metascore
    • 58 William Arnold
    It's simply not a very good movie. Its story line is populated with so many characters and meaningless names that it's nearly impossible to follow, and its author's message doesn't amount to much more than a cry of despair.
    • 37 Metascore
    • 58 William Arnold
    Feels forced every step of the way. Ultimately it's the kind of under-inspired, overblown enterprise that gives Hollywood sequels a bad name.
    • 62 Metascore
    • 58 William Arnold
    I walked out of it feeling much the same way I did after "The Cat in the Hat" and "The Polar Express" -- jarred by its excess, undernourished by its lack of heart and bored by its lack of originality.
    • 56 Metascore
    • 58 William Arnold
    So fluffy and sitcom shallow that it makes "Gidget Goes to Rome" and its other many predecessors in the young-American-girl-goes-to-Italy-and-falls-in-love genre look like high art.
    • 56 Metascore
    • 58 William Arnold
    It pales in comparison to its two classic predecessors, and also just generally feels like one too many trips to the well.
    • 71 Metascore
    • 58 William Arnold
    Ultimately emotionally flat and eminently forgettable.
    • 46 Metascore
    • 58 William Arnold
    The movie is mainly an excuse to display special-effects gags in the form of the various miracles manifested -- some of which are highly imaginative, some of which aren't.
    • 45 Metascore
    • 58 William Arnold
    It's a moderately compelling sci-fi action movie with a handful of scary scenes -- though nothing at all special, and only a shadow of the original or even its 1978 remake.
    • 46 Metascore
    • 58 William Arnold
    While Keira Knightley brightens things up as Guinevere, the casting is otherwise lackluster.
    • 54 Metascore
    • 58 William Arnold
    As this all plays out -- and basically segues into "King Kong" -- the movie wins its biggest gamble: its entirely computer-generated monster works.
    • 42 Metascore
    • 58 William Arnold
    The film's creepier moments are pathetically weak, and its thematic update fails to attain the minimal credibility that even a wild farce needs to sustain itself.
    • 45 Metascore
    • 58 William Arnold
    It is long, mediocre and rather pointless. [07 Apr 1995]
    • Seattle Post-Intelligencer
    • 52 Metascore
    • 58 William Arnold
    It's hard to know what to make of the thing, though it has a sleazy charm, it's never boring and it goes a certain distance on Samuel L. Jackson's conviction.

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