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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Sita Sings the Blues
Lowest review score: 0 One for the Money
Score distribution:
  1. Negative: 83 out of 985
985 movie reviews
  1. 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."
    • 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.
  2. To say that Marshall's technique is so low-brow it may as well be a moustache is being kind--at best this is the sort of lazy, ambitionless hackery that can lead both filmmakers and audiences to write off a genre for dead--or at least until a more skilled storyteller is able to do it right.
    • 60 Metascore
    • 30 Critic Score
    Fans will presumably get what they came for; what anyone else gets out of it is hard to say.
  3. This movie will not find an audience. It's got likable stars, a reliable commercial genre and a decent supporting cast, but nobody will turn out to see it, even if it was a labor of love.
    • 59 Metascore
    • 20 Critic Score
    Between Eastwood's direction and Dustin Lance Black's screenplay, what you feel leaking off the screen in every scene is missed opportunity.
  4. Apatow has drifted further and further from comedy with every film, but This is 40 is the first where he hasn't even bothered to write any jokes. Instead of snappy dialogue, we get lazy exchanges.
  5. A broadly promising premise and well-matched stars prove no match for an abominably unfunny screenplay and the work of the poisonously untalented Shawn Levy--arguably the worst director making big-budget studio films today.
    • 53 Metascore
    • 20 Critic Score
    Sinister is pretty much everything to hate about modern horror in one mixed bag, a ramshackle teardown of jump-scares and creaky tricks, saw-it-coming "surprises" and the lead-footed thud of inevitability as it tediously places one clumsy foot in front of the other, plodding towards a finale that comes far too late.
    • 52 Metascore
    • 20 Critic Score
    A crime saga cobbled together from scraps of genre predecessors, Deadfall's unbelievable silliness escalates at every turn.
    • 52 Metascore
    • 20 Critic Score
    The more pressing affliction in Pascal Laugier's film is the absence of chills, logic and coherence.
    • 50 Metascore
    • 20 Critic Score
    Ugly characterizations and simplistic preachiness negate the terror in Red State - a film that eventually proves horrific in ways unintended by writer/director Kevin Smith.
  6. The movie is a bit of a departure for the mumblecore pioneer, one that does not play to his strengths.
  7. 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.
  8. What helps salvage the film (much to the surprise of director and co-writer Lussenhop and his fellow writers Peter Allen, Gabriel Casseus and Avery Duff) are the unintentional laughs generated by the film's outrageous gun battles, childish dialogue and an action chase featuring Brown that seems to go on forever.
    • 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.
    • 44 Metascore
    • 20 Critic Score
    The big event plays in the same cartoonish key as the rest of the film.
  9. 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.
    • 43 Metascore
    • 20 Critic Score
    Fischer and Messina may make a cute pair, but amidst such contrivances, they're powerless to make this RomCom seem like anything more than a creaky retread of obvious indie clich├ęs.
    • 43 Metascore
    • 30 Critic Score
    Stolidly maudlin, this enervating sub-middlebrow pic is doomed to well-deserved commercial obscurity.
    • 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.
  10. Its endless parade of explosions, battles and general mayhem makes Michael Bay seem like Ingmar Bergman in comparison with Battleship director Peter Berg.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Critic Score
    A squishy Hallmark Channel-level melodrama that rarely bothers to mask its propagandistic intentions.
    • 35 Metascore
    • 20 Critic Score
    The film's length and muddled message will likely keep it from reaching much of an audience, even within the presumed Latino faith-based target.
  11. The real problem is, when the film blindsides us with a mystery we didn't know existed, we're already too busy not caring about mystery we knew was there.
  12. In this case, boredom is the deadliest sin.
  13. Robert Young's Eichmann feels the burden of history so heavily that it's effectively smothered by it.
  14. Even the presence of Dan Aykroyd as Yogi and Justin Timberlake as his pint-sized straight man Boo Boo, couldn't save the movie.

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