Baltimore Sun's Scores

  • Movies
  • TV
For 2,029 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 March of the Penguins
Lowest review score: 0 CJ7
Score distribution:
2029 movie reviews
  1. Batman Begins is obvious from the get-go - and almost no fun.
  2. Go to enjoy the technical expertise, and take a first-grader (and not a particularly savvy one) along to find something of value in everything else.
  3. Falls victim to flimsy characters and a love story that strains reality.
  4. Ella Enchanted is one cute movie.
  5. As for the Ya-Yas: They're not as much fun as the First Wives' Club.
    • Baltimore Sun
  6. Wants to be a bittersweet comedy about erotic loss and memory loss. But it doesn't have the heart or brain.
  7. The final half-hour is like the not-so-grand finale for a silly-sticky sitcom. It's a college-town “Friends” with an unearned doctorate.
  8. Though lovingly crafted and beautifully photographed, the movie does little to make Jones seem compelling, or even all that good.
  9. The result is a film that plays like a creaking melodrama, with good guys and bad guys and precious little in between.
  10. The real obstacle here is a lack of filmmaking imagination.
  11. The script gives the actors less of a chance than the dragons give to Homo sapiens.
  12. The talented and quirky-pretty Sarah Jessica Parker gives an excruciating performance. It's a keenly self-conscious caricature - the bold, showy kind that often wins awards yet sends audiences running from the theater.
  13. Put the tango in "To Sir, With Love," and you've got Take the Lead.
  14. It's also unclear just what Niccol wanted this film to be: a satire? a spoof? a black comedy? a pointed social commentary? Perhaps all of the above - way too many hats for a movie this slight to wear.
    • Baltimore Sun
  15. Meandering, forgettable trifle.
  16. With Nicholson and Sandler aboard, we want to love it madly. But instead of a tickle, this big-name comedy just grates.
  17. The movie is so confused about itself that it comes across as toneless, a bunch of characters wandering around in a story no one is controlling.
    • 41 Metascore
    • 50 Critic Score
    Gives aficionados what they want and is surprisingly kid-friendly.
    • Baltimore Sun
  18. It all comes off as a case of filmmakers wanting to have their communion wafer and eat it, too.
  19. Fans of anime probably will find Vampire Hunter D plenty thrilling. Non-fans, or those not familiar with the genre, will enjoy the film's gothic atmosphere, but may wonder what all the fuss is about.
    • Baltimore Sun
  20. Rather than providing flashes of one-of-a-kind humor, Allen has reached the point where his critical and movie-going fans are humoring him.
  21. Good intentions are no substitute for good filmmaking, and Spy Kids 3D is nothing more than a retread in flashier clothing.
  22. Webber's film offers painstaking reproductions of the town of Delft circa 1665 in all four seasons. That's just the problem: you feel every pain he took. Girl With a Pearl Earring is an art movie in the worst way.
  23. Strip away the portentous style and lush views of nature in The Return and all you've got is a slender nightmare of a family gone haywire in an outing that turns into survival camp.
  24. Costner succumbs to terminal self-seriousness when he makes a movie of his own either as the director or, in this case, a producer.
  25. Despite its director's skill at staging trash with dash, Oldboy is too long and portentous to be an enjoyable B movie. The movie's self-seriousness short-circuits its sensationalism.
  26. Doesn't display a single deep thought, or even a middlingly profound one.
    • Baltimore Sun
  27. I found the movie impossibly basic and sanitized as a "never again" parable of the Final Solution - and simply wrongheaded as a story about children.
  28. Spielberg believes, admirably, that art can grow from love, and vice-versa. But in The Terminal he makes the mistake of insisting on it, repeatedly.
  29. Will keep kids happy and parents mildly entertained.
  30. The cast doesn't impress, the story doesn't compel and the characters are too bland to make people remember them.
  31. The problem is not merely that Moore preaches to the choir. It's that, at his worst, he's so bumptious and bullheaded that he helps keep that choir small and strident. In Fahrenheit 9/11, Moore is so anti-Bush that he becomes a Bizarro-world version of Bush himself: tone-deaf, spluttering, incapable of framing an intelligent debate.
  32. If any man should be more than the sum of his parts, it's an artist. But Todd Haynes' I'm Not There makes Bob Dylan less than the sum of his parts. It's like a tony art-school parlor game.
  33. Knowing offers mumbo jumbo on an apocalyptic scale.
  34. The movie could use less romantic boo-hoo-hoo and more Bunuel: It's engaging whenever Bunuel acts as ringleader or troublemaker, even when he's blustery and piggish.
  35. In a boxing soap-opera way, Eastwood is trying to do for himself as a performer what Sergio Leone did for him in a spaghetti-western way: douse his rough-hewn banality with reflected emotional coloration.
  36. Rarely has appalling, reckless behavior been so soporific as in Savage Grace.
  37. The most grievous flaw in Richard Linklater's remake of Michael Ritchie's 1976 misfit juvenile baseball comedy The Bad News Bears is that it over-relies on Thornton's willingness to play an irredeemable degenerate.
  38. Fitfully thrilling.
    • Baltimore Sun
  39. Painfully boring.
  40. The movie is mainly geared to putting new twists on what John Hughes comedies used to call "sucking face." It will satisfy Meyer's devotees.
  41. The Missing is so dour it makes you wonder why they didn't all just pack up and go back East.
  42. The whole cast is good. It's too bad all that good work isn't in service to a better, or certainly more original, script.
    • Baltimore Sun
  43. Paycheck is one of those movies in which all the ingenuity went into the original idea and none into its execution.
  44. So minimalist that you wouldn't miss much if you watched semi-awake and listened to a friend's running commentary.
  45. Confetti overdraws on an audience's generosity.
  46. Despite the tenderness between them, Rose and her perfect younger man have the sickest mother-son relationship since Angela Lansbury and Laurence Harvey in "The Manchurian Candidate" - and Mikey seems just as brainwashed.
  47. The credits list a couple of dozen medical and scientific consultants. What this film really needed was a script doctor.
  48. Ed
    About on the level of an After School Special put together by people in a real hurry to get on with their lives, Ed plays pretty dead for all except the very dumb at heart.
  49. The Legend of Bagger Vance is nothing but "The Natural" with Will Smith playing the bat.
  50. The movie's not nearly as cool as the setup.
    • Baltimore Sun
  51. Think you know where this film is going? You do, and the best thing about Must Love Dogs is that it takes only 88 minutes to get there - short enough to enjoy the film's modest, well-worn pleasures, but not so long that you feel your time could have been put to better use elsewhere.
  52. The Banger Sisters stands as proof that no movie is so bad it can't be redeemed by a single stellar performance. That performance is by Susan Sarandon.
    • Baltimore Sun
  53. Eventually becomes cliched, predictable and crude. And that's a real sin.
    • Baltimore Sun
  54. Lovely to look at and listen to but doesn't reward any closer study.
  55. Analyze That is no surprise, and pleasant is about the most you can say for it.
  56. The Reader is ponderously self-important and smugly Socratic, brimming with unfinished sentences and pregnant pauses; if a single character would only say what he thinks, the movie would be over in 30 minutes
  57. At two hours, The Chronicles of Riddick is way too long for ridiculous.
  58. This depressing look at love isn't quite worth enduring.
  59. Imagine a Three Stooges short with a feel-good ending, and you get the idea.
  60. There's a wonderfully funny and relentlessly cute 45-minute cartoon within The Powerpuff Girls Movie; unfortunately, it's padded out with almost as much filler.
    • Baltimore Sun
  61. Whale Rider is one long, sensitive downer capped by an uplifting finale. A martyr fantasy that turns victorious -- it's a surefire recipe for arthouse crowd-pleasing.
  62. Based on Palindromes, it's easy to see what Solondz is railing against but almost impossible to tell what he's railing for.
  63. It ain't art. But as a cinematic house of horrors, it more than fills the bill.
  64. The movie dramatizes a social-sexual sea change with an out-of-control blend of cartoon farce and melodrama and clinical, often ludicrous sex scenes.
  65. Reading this book and watching this movie, as with "The Devil Wears Prada" a year earlier, I'm convinced that chick-lit books are formula - and chick-lit movies are baby formula.
  66. Yet [Smith] can't keep the movie from stopping cold with another hour left to go.
    • 36 Metascore
    • 50 Critic Score
    So much of Three to Tango is calculated to push the proper emotional buttons that it's ultimately unsatisfying.
  67. What's hilarious about the build-up is that Secretary proves to be the softest, most middle-of-the-road movie that could have been made about this subject.
    • 65 Metascore
    • 50 Critic Score
    A misstep or two aside, you don't have to belong to Mensa to know kids will enjoy it.
    • Baltimore Sun
  68. Terrific looking in the extreme, The Beach is the movie equivalent of vacation reading: no more demanding -- and no less satisfying -- than a sandy paperback left on a damp towel.
    • Baltimore Sun
  69. Conventional wisdom has it that the best Star Trek movies are the even-numbered ones. Nemesis may keep that streak alive, but barely.
  70. Stripped of texture, even the sharpest comments come off as bromides.
  71. The Mist contains nary a dollop of wit and irony. As adapted and directed by Frank Darabont, there's no ambiguity either.
  72. Initially an amiable sci-fi thriller that toys with the paradoxes inherent in time travel, it finally gets drunk on them. It becomes an incomprehensible stew of versions and revisions, until there's no there there and no then then.
  73. Unlike Julia Roberts in "Pretty Woman," Lopez seems a little too comfortable in her new duds, which prevents the audience from rooting for her with passion, rather than just appreciation.
    • Baltimore Sun
  74. This picture evaporates midway through because the story itself is a one-liner. Yet it also has a cast that gets into the silliness.
  75. This fake-feminist thriller hides its sadism under a show of sympathy for its beleaguered heroine.
  76. All the young talent in Hollywood is not enough to energize a movie that takes forever to get nowhere.
    • Baltimore Sun
  77. The Wild suffers from a breakneck pace that seems to exist only so that director Steve Williams can earn his nickname of "Spaz."
  78. It bears roughly the same resemblance to the Bennett Miller-Dan Futterman-Philip Seymour Hoffman masterpiece as the now-forgotten "Valmont" did to "Dangerous Liaisons."
  79. This fourth "Terminator" film is the ultimate heavy-metal parody. Better make that travesty, because there are next to no moments of comedy.
  80. It might be a solid hook if we thought their love was grand. Instead, it's kind of creepy.
  81. So much love has gone into the physical details and the music of Robert Altman's Kansas City that it's a shame the movie isn't up to the effort. It's a movie you yearn to care for, but it refuses to allow you: It's too busy being singular to be good.
  82. A film made by people with more heart than skill.
  83. Bubble is the moviemaking equivalent of the worst narrative journalism. Every bit of "human interest" is so painstakingly planted, so determined to be applauded for its observation and sensitivity, it ends up seeming as slick and bogus as the worst Hollywood blockbuster.
  84. Forgive me for being underwhelmed.
    • Baltimore Sun
  85. Spending more time with Downey's character would have benefited this movie no end.
  86. The Matrix Revolutions blends feather-brained, starry-eyed camp and rock-'em-sock-'em spectacle -- so it's at least more entertaining than the second Matrix film, which hung in the air like a noxious cloud.
  87. The political correctness of Class Action verwhelms its sense of life. It turns into just another movie. [15 Mar 1991]
    • Baltimore Sun
  88. Standard-bore action stuff, in which a macho stud superstar blows away lots of bad guys while struggling to make the world a better place.
  89. The special effects turn out to be not very special and not very effective, and the movie never achieves the lunatic grandeur of the truly demented. Stargate is strictly for the peanut gallery.
  90. How much adorable can one person take?
    • 75 Metascore
    • 50 Critic Score
    If you change the course of history, the world will experience a different kind of chaos. That's a time-honored movie cliche. Terminator 2: Judgment Day chooses to go against that philosophy, noisily and with some monotony.
  91. Those who come to the movie cold will find it an exasperating assembly of brutal pedantry and whimsies, boasting far less charm or grace than even the first Harry Potter picture.
  92. Any chance to generate atmosphere or sustained comedy and melodrama goes down the tubes, often literally.
  93. Eastern Promises is intensely anti-dramatic.
  94. Like an over-packed three-scoop cone -- it melts into a mess while we're still slurping away.
  95. Plays like a remake - not of "Knights of the Round Table" (1953) but of director Antoine Fuqua's previous "Tears of the Sun" (2003).
  96. Signs of fatigue are all over the film itself.
  97. The movie is so determinedly lightweight that it floats above the fray, stopping only for the occasional mild chuckle.
  98. There are the gadgets and the effects. But Cats and Dogs definitely could have been more fetching.
    • Baltimore Sun
  99. From the start, this movie sets the bar high -- then, unfortunately, runs smack into it.
    • Baltimore Sun
  100. Even if Scream 3 lacks the punch and verve of the first two installments, it manages to wring some ironically metaphysical comedy from the movie-within-a-movie motif.
  101. In Robert Gordon's script, Handler's hilariously literate bouts of psychological torture develop no consistent tone, voice or momentum.
  102. It's a promising concept, albeit melodramatic, but what keeps the movie from halfway working is its infernal preciousness. [03 Sep 1993]
    • Baltimore Sun
  103. Auto Focus is a gutless wonder.
  104. More palatable than "Norbit" but equally uninspired, Murphy's benign, pedestrian Meet Dave mostly gives us "Mr. Ed," with a bit of Crazy Eddie mixed in.
  105. Murray is very funny in the early going when his irritation-shtick is allowed full play; when he turns doughily benign in the late going, he's much less interesting. [17 May 1991]
    • Baltimore Sun
  106. It's actually surprising that Chan is as engaging as he is. He's a canny performer in a canned-goods movie.
  107. This movie is genial, forgettable piffle about the perhaps-beginning of a maybe affair. It's a romantic daydream so slim that it barely leaves the requisite sweet aftertaste.
  108. The blend of chic histrionics and ultra-bright daylight imagery make much of the movie resemble a network soap opera with an on-location interlude. It looks as cheap as life is held in Medellin.
  109. Great casting ideas, like Glenn Close and Christopher Walken as "the King and Queen of Stepford," don't pay off, because the filmmakers' increasingly desperate twists alter the basis of the characters.
  110. Proves that marionettes can be as foul-mouthed and profane as their cartoon counterparts, but not nearly as clever.
  111. Sin City is a seedy tribute to rugged masculinity disguised as a rogue's gallery, all the better to please college boys who like their sentimentality slicked with grunge.
  112. Maybe the best way to see Serendipity is to take a cue from the characters and wait a few years.
    • Baltimore Sun
  113. Frequently fascinating, it never builds into anything profound.
  114. There's no character to root for in this movie, no potential triumphs or resounding failures, just the sense of people going through the motions because they can't bother to think of anything better to do. And that's not a lot to hang your moviegoing hat on.
  115. What makes the film work better than its nearly unbearable cuteness suggests is the casting of Christopher Walken as the son; the movie has yet to be invented that Walken can't improve simply by showing up.
  116. Has its heart in the right place, and could have been an insightful rumination on corporate shortsightedness and mid-life obsolescence. Instead, it's another one of those Hollywood films whose feel for the workingman's life seems to come exclusively from other movies.
  117. In Spy Kids 2, Rodriguez tries to hold his family-spy saga together with the digital equal of rubber bands and chewing gum.
    • Baltimore Sun
  118. This movie asks us to "accept the good" in life - not a bad message. But to overpraise Things We Lost in the Fire would be to accept the mediocre.
  119. You don't see The Doors, you survive it. [01 Mar 1991]
    • Baltimore Sun
  120. Even with the great Ken Watanabe lending command and compassion to the role of General Kuribayashi, it's a formless slog across a treacherous field.
  121. Too bad director Scott Hicks and screenwriter Carol Fuchs didn't look more closely at their source material, a 2001 German film called Mostly Martha. That film used the same basic premise but injected real conflict into the mix, in ways sexual, culinary, even ethnic. That film tried to do something, even while it was entertaining us.
  122. There's a dollop of charm and a deluge of formula in Sleepover.
  123. You have to grasp at straws to make even "poetic" sense of the narrative.
  124. Dubowski's movie is an act of hope that the basic human needs of the gay Orthodox will someday be reconciled with their faith.
  125. It's one of those movies whose appeal depends on the viewer's tolerance for watching French people suffer, smoke and sigh prettily.
    • Baltimore Sun
  126. Unwisely bills itself as a comedy.
    • Baltimore Sun
  127. "Everybody loved him. One woman understood him," goes the ad line. But the movie makes you wonder how anyone could love this screw-up and why anyone would have a problem understanding him.
  128. It's a bad joke that District 9 will be hailed for its "originality."
    • 46 Metascore
    • 50 Critic Score
    Utterly lightweight.
    • Baltimore Sun
    • 58 Metascore
    • 50 Critic Score
    As gripping as Hard Candy is, one can't quite shake the feeling that we're the ones being exploited by its mordant blend of kinky revenge fantasy and push-me-pull-you moral vision.
  129. The movie includes a few good one-liners, but that's really all it is -- a forum for putdowns and sassy dialogues.
  130. A feel-good us-against-them tale that panders mercilessly to its audience, yet displays a few moments of honest humor.
    • Baltimore Sun
  131. Denzel Washington does a cocksure turn in Training Day -- That may be enough to transform a shallow picture with delusions of grandeur into a crowd-pleasing hit.
    • Baltimore Sun
  132. Thank heaven for William H. Macy, whose portrayal of Happy's sheriff strikes the only honest note in a film that earns its laughs the cheap way.
    • Baltimore Sun
  133. Especially discomfiting is the stream of kids in peril.
  134. It's a family film done as a trip film. It is a trip, but it's a bad trip.
  135. Watching a Pokemon movie is like drowning in a sea of cute.
    • Baltimore Sun
  136. His [Director Mike Figgis's] techniques do make the film at least watchable.
  137. There's enough kinetic energy in Jumper to light a thousand houses. Unfortunately, there's no one home in any of them.
  138. This is a movie that falls short only because it insists on grabbing for so much.
  139. Johnny English never builds any momentum, and Atkinson simply isn't a good enough actor to mine continued laughs from repetitive material.
  140. Doesn't really go anywhere or amount to anything - a fatal flaw in a time-travel movie designed not only to keep you guessing, but to build genuine suspense as well.
  141. The one perfect aspect of Jennifer's Body is its title: No one is going to like this movie for its brain.
  142. It's hard to see Franklin's fingerprints on the material. It's as if he directed with his gloves on.
  143. When the film is not focused on Wilson, it's really not focused at all. This is a comedy ever holding itself in check, filled with plot threads and asides that seem as though they should be funny but almost always fall short of the mark.
  144. Silly stuff, made all the more regrettable by the apparent skill with which the movie was made everywhere but in the screenplay department. The sheer lunkheadedness of Sebastian Gutierrez's script is impossible to ignore.
  145. At the end of Napoleon Dynamite, you're glad the geeks have their day (even Kip's chat-mate turns out be a winner); you're also relieved to be rid of them.
  146. There's no clear plot, no memorable villains, no real logic. But there sure is action.
    • Baltimore Sun
  147. Unless you think "My Big Fat Greek Wedding" was the height of genius, there's little reason to sit though another version.
  148. The movie leaves you in an awful tangle of amazement and disbelief: Amazement that Tuvia Bielski did turn a group of civilians into a nimble fighting force and a commune that could defend itself, but disbelief at his accomplishment's stagey and banal rendering.
  149. Allen's latest, his 42nd effort as a director, is the work of an artist devoid of ideas and energy. Perfunctorily staged and lazily written, it comes to life in only the briefest of spurts, usually when the ever-reliable Tom Wilkinson is on-screen.
  150. Owing more to the sword-and-sex-play fantasies of 12-year-olds than the traditions of Old English poetry, Robert Zemeckis' Beowulf will allow adolescents to have their cheesecake - and beefcake - and eat it, too.
  151. It's turned Stone's Catherine Tramell from a warning sign for the dangers of wanton sex into the last thing you'd figure - a bore.
  152. Everyone from the ensemble appears to be acting in a different picture. Zaillian strands them all.
  153. If Pride had concentrated on a gifted coach's teaching and training techniques, it might have been a contender. Instead, all the overheated melodrama evaporates our rooting interest.
  154. This is a strange and indeed foolish film. [29 Apr 1994]
    • Baltimore Sun
  155. As an action comedy, it's just a bad trip.
  156. You begin yearning for more cuteness from the anthropomorphic animals: a pelican, a sea lion and, best of all, a bearded dragon lizard. They're a lot more amusing than Foster, who pours on the angst.
  157. This rendering of the turbulent second marriage of England's King Henry VIII proves too heavy-footed for the old movie two-step of setting up a morality tale, then exploiting it for heat and titillation.
  158. I managed to get through the biker extravaganza Hell Ride, a narcissistic piece of soft-core porn and macho camp, by mashing it together in my mind with the equally woeful, family-friendly biker comedy "Wild Hogs." After all, both are full of hellions gone to seed.
  159. In the movie, the unconverted will hold their ears as the banal tunes blare out in multichannel sound. And they'll wince as the camera closes in on every heart-tugging moment.
  160. Looking for comedy in Albert Brooks' Looking for Comedy In the Muslim World is a fool's errand. There's hardly any there.
  161. With all its cloying, tone-deaf attempts at genuine emotional warmth, all it really deserves is to be avoided.
  162. The plotting is so rickety that the action hinges on suspicions roused by a character carrying a cigarette lighter and matches. Is that more rare or suspect than a man wearing a belt and suspenders?
  163. If only it had some funny lines, a focused plot and an idea that stretched beyond the initial setup.
  164. A sword-and-sorcery saga that desperately wants to be another "Lord of the Rings," Eragon succeeds in being only the palest of imitations.
  165. Like a party where everyone is so desperate to have a good time that it makes you miserable.
  166. This Heartbreak Kid makes the mistake of trying to be semi-heartwarming.
  167. This movie doesn't have a mean bone in its body; the problem is, it doesn't have any bone in its body.
  168. Wild Hogs puts the "ick" into City Slickers.
  169. The movie version of Love in the Time of Cholera doesn't have the drive or the dynamism to be an artistic nightmare. It's more like a dead dream, the kind that leaves nothing more behind in the light of day than a sickly cloud.
  170. The best thing that can be said about this Yours, Mine and Ours is that it's inoffensive.
  171. Shyamalan has said he wanted to create the best B-movie ever made, but it fails to be the best C movie of the month. (Stuck or Zohan are better C movies.)
  172. Munich is so broad-stroke it cuts itself at every turn. It's also a thoroughly lifeless movie.
  173. Now we get a lazy Eddie in Norbit, a lackluster attempt to make a gross-out romantic comedy. When I say lazy Eddie, I mean imaginatively lazy.
    • 43 Metascore
    • 42 Critic Score
    Fans of horror-comedy probably will enjoy this movie, even though chuckles outnumber scares.
  174. It aims for outlandish and athletic love lyrics and instead achieves all the potency of a makeshift nonsense song banged out on a toy lyre.
    • 40 Metascore
    • 42 Critic Score
    The movie's one bright spot is Gonzalez, a refreshingly natural young actor who needs to get out of B-movies.
  175. This may be Thornton's most arch, least persuasive performance. With Heder he's a vacant scowl. With Barrett he's a threatening yet toothless Cheshire Cat.
    • 37 Metascore
    • 42 Critic Score
    The transgression that dogs much faith-based art - and leaves its stain on The Last Sin Eater - is the inability to divorce art from agenda; that is, you can feel the filmmaker forcing the round peg of evangelism into the square hole of creative excellence.
  176. It's possible that a smart, insightful, sharp-edged comedy could have been written around these characters, but Trust The Man isn't it.
  177. But by the end, you're only watching to see how far Wilmot's pustules will spread, or whether his various diseases will really make his nose fall off.
  178. If only La Mujer de mi Hermano had a dollop of humor and at least one character worth rooting for.
  179. Painfully earnest, The Astronaut Farmer is, sad to say, a bunch of hooey. It's Frank Capra without the genuine heart, certainly without any sense of perspective.
  180. An overly gimmicky and fatally repetitive terrorist thriller that quickly wears out its welcome.
  181. But even those who succumb to his primitive, survivalist vision may resent the way he presents every kind of atrocity at least twice without illuminating any of the exotic details once.
  182. The best you can say about Owen is that no actor has looked better in thigh-high boots and puffed-out britches.
  183. If you expect anything more substantive from a movie - characters of more than one dimension, storylines that at the least play new riffs on old themes, plot developments that flow from the narrative - you'd best look elsewhere.
  184. Swing Kids really doesn't go anywhere. [05 Mar 1993]
    • Baltimore Sun
  185. There hasn't been so much pea soup spit onscreen since "The Exorcist."
  186. Newcomers to the Mike Myers experience will leave this love train early.
  187. The Wicker Man is too loony to be a drama, too earnest to be a comedy, too predictable to be a horror film.
  188. Anderson and Day-Lewis strip themselves of their natural talents for invention and poetry, as if any hint of romance, nobility or fun would soften the film.
  189. Flags of Our Fathers fails as fact or legend. It's woefully incompetent as narrative moviemaking.
  190. This movie is a case of arthouse bait and switch. Its true subject is one decent Yank's desire to believe that Everyman and Everywoman - Everywhere! - are as warm and amiable as your average American Joe: him, Morgan Spurlock, the regular guy as fearless globetrotter.
  191. Sex and the City, as a film, is a testament to bad faith. It wants its characters to eat their wedding cake and have it, too.
  192. It's like an Indiana Jones movie without rhythm, wit or personality, just a desperate, headlong pace.
  193. For the most part, it's uninspired, not much to look at and laugh-free.
  194. The mystery is, how the filmmakers still managed to come up with a movie that will satisfy almost no one.

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