Boxoffice Magazine's Scores

  • Movies
For 985 reviews, this publication has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Disappearance of Alice Creed
Lowest review score: 0 Date Night
Score distribution:
  1. Negative: 83 out of 985
985 movie reviews
    • 34 Metascore
    • 30 Critic Score
    This NYC-stamped film may claim street cred because it set-up shop along No Man’s Land, Brooklyn, late at night, but its drowsy work and parlor tricks suck the life out of what’s supposed to be a sleepless city.
  1. Poor word of mouth should doom it for a quick ride to DVD oblivion.
  2. Letters to God is far too simplistic and pandering to find success outside of the targeted church-going family moviegoers it’s hoping to reach.
  3. The compellingly awful thriller, In My Sleep--in which Melrose Place meets imitation Hitchcock--is so unselfconsciously derivative that you have to admire it…or, if you don’t admire the movie itself, than admire the jejune chutzpah of writer-director-producer Allen Wolf.
  4. Conceptualized and re-conceptualized, written and re-written, shot and re-shot, cut and re-cut, the final product is the world's longest short film.
  5. Unlike "The Lost Boys," there are no bloodsuckers in Twelve. Instead, it just sucks time: 98 minutes to be exact that you can never get back.
    • 18 Metascore
    • 30 Critic Score
    As if a string of bad jokes wasn't enough, Vampires Suck is full of distractingly forced pop culture references and shameless product placements (the actors practically mug for the camera while holding various products).
  6. A mess of a horror movie that spent several years sitting on a shelf and should have remained there living up to its fullest potential as a dust magnet.
    • 60 Metascore
    • 30 Critic Score
    Fans will presumably get what they came for; what anyone else gets out of it is hard to say.
  7. Robert Young's Eichmann feels the burden of history so heavily that it's effectively smothered by it.
    • 68 Metascore
    • 30 Critic Score
    The case may be plausible, but Gibney's method - a singularly unimaginative trawl through archival footage and listlessly edited talking heads - is life-sapping to watch, and his editorial contributions laughably literal-minded.
    • 21 Metascore
    • 30 Critic Score
    American viewers are unlikely to be interested.
    • 33 Metascore
    • 30 Critic Score
    Even when presenting itself as a goofy trifle, the film never gels to that minimal standard.
  8. What's most memorable about this plodding thriller are the copious amounts of foundation and lip gloss.
  9. Tackling his own original screenplay, Zack Snyder keeps his reputation for outlandish visuals intact but strikes out as a storyteller.
    • 28 Metascore
    • 30 Critic Score
    Lifeless as entertainment and incoherent as ideology.
    • 31 Metascore
    • 30 Critic Score
    Dylan Dog feels like its ideas were stolen from western entertainment-a mash-up of sexy vampires, burly werewolves, and comical-gross zombies-which Hollywood then stole back from the Europeans, forgetting that other movies have explored that evil terrain thoroughly, exhaustively and better.
  10. All of this is silly, none of it is funny and it's not long before the whole film stops making sense altogether.
  11. All you need to know about this low-budget farce is that Amy Sedaris costars (yippee!) and New York pol Anthony Weiner would feel right at home with the sexting subplot (eeeuw!).
    • 11 Metascore
    • 30 Critic Score
    Too dull for camp and too bad to be taken seriously.
  12. In this case, boredom is the deadliest sin.
  13. The movie is a bit of a departure for the mumblecore pioneer, one that does not play to his strengths.
  14. The dismal reality is that this romantic drama is a disaster, a dour "When Harry Meets Sally" that tries to jerk tears out of the story of a man and a woman who go from friends to lovers.
    • 37 Metascore
    • 30 Critic Score
    A squishy Hallmark Channel-level melodrama that rarely bothers to mask its propagandistic intentions.
  15. We all have to make jokes around the water cooler, and if enough people bother to see Killer Elite, its silly nonsense could make for a great comedy routine by Greg from IT.
  16. A surprising follow-up to Doremus' low-fi but equally concept-driven 2010 Sundance feature "Douchebag," Like Crazy has appealing performances, a notable tone of realism in the acting and so many borrowed mannerisms from better or more interesting films it feels like a YouTube mash-up made by a Wes Anderson junkie who's studying Sophia Coppola movies while writing a term paper on "Garden State."
    • 39 Metascore
    • 30 Critic Score
    The Sitter clocks in at a slim 81 minutes, but it feels significantly longer, as there is almost no fluidity between scenes, with the entire outing feeling slapped together at the last minute.
    • 44 Metascore
    • 30 Critic Score
    A well-meaning production that consistently fails to deliver on even the most basic of cinematic expectations, all while covering up stunning ineptitude with bloated song-and-dance numbers.
    • 39 Metascore
    • 30 Critic Score
    Kate Beckinsale can still fill out a skin-tight leather bodysuit, but with Awakening, the vampires-vs-werewolves Underworld franchise has finally decayed beyond the point of repair.
    • 43 Metascore
    • 30 Critic Score
    Tyler Perry has finally achieved an odd kind of equality that heretofore eluded him: he's now just as mediocre and middle of the road as any other reliable hitmaker in Hollywood.

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