For 4,827 reviews, this publication has graded:
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68% higher than the average critic
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2% same as the average critic
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30% lower than the average critic
On average, this publication grades 3.6 points higher than other critics.
(0-100 point scale)
Average Movie review score: 65
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 2,916 out of 4827
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Mixed: 1,362 out of 4827
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Negative: 549 out of 4827
4,827
movie reviews
- By critic score
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Reviewed by
Lisa Schwarzbaum 25
A desert of shrill juvenile jokes and clanging chase sequences. -
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Reviewed by
Lisa Schwarzbaum 25
Eventually, the senses jam and a mental lube job is in order. -
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Reviewed by
Owen Gleiberman 25
It's no insult to Melville to say that he wrote, in effect, the original ''Dilbert.'' This movie, unfortunately, makes ''Dilbert'' look like Melville. -
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Reviewed by
Owen Gleiberman 25
If any of these characters were half as resonant as Wenders appears to think they are, the film might have seemed charming instead of merely stranded. -
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Reviewed by
Bruce Fretts 25
It doesn't help that most of the jokes (like a rip-off of ''There's Something About Mary'''s dog-in-the-crotch bit) are themselves stolen. -
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Reviewed by
Owen Gleiberman 25
It's doubtful that even a real actress could have triumphed over the rusty tinsel of Glitter, a hapless, retro-'80s ''Star Is Born.'' -
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Critic Score 25
The action involves lots of second-rate martial-arts choreography (made even less thrilling by the video's pan-and-scan job), while the psychological conflicts are filled with unconvincing angst. -
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Reviewed by
Lisa Schwarzbaum 25
Just because A Walk to Remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls. They're willing to buy tickets; why not honor their wits as well as their wallets? -
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Reviewed by
Lisa Schwarzbaum 25
A very low grade romantic drama indeed, a love story with all the life and death intensity of a heat rash. -
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Reviewed by
Bruce Fretts 25
When Seagal's undercover FBI agent Sascha Petrosevitch waddles into the big house wearing a do-rag and a billowing blue jumpsuit, it's the funniest jailhouse-flick scene since Gene Wilder's white-boy strut in ''Stir Crazy.'' -
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Reviewed by
Lisa Schwarzbaum 25
A cheap cut-glass tiara of a booby prize goes to Drop Dead Gorgeous for messing up so utterly. -
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Reviewed by
Lisa Schwarzbaum 25
If, as Fincher has said, this movie is supposed to be funny, then the joke's on us. -
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Reviewed by
Lisa Schwarzbaum 25
The movie is so littered with clichés of genre, as well as clichés of artifice in Reeves' pained performance, that any semblance of social reality goes foul. -
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Reviewed by
Owen Gleiberman 25
De Niro seems to be reacting to nothing so much as the lame movie he's stuck in. -
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Reviewed by
Lisa Schwarzbaum 25
Pushes and pushes and pushes the emotional throttle without respite. -
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Critic Score 25
Still, there's no mistaking the central message: Slow people have much to teach us. Or is it: Slow people -- aren't they funny? Either way, it's pretty vile stuff. -
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Reviewed by
Owen Gleiberman 25
It's a dismal mess...What's most grating about Hackers, however, is the guileless way the movie buys in to the computer-kid-as-elite-rebel mystique currently being peddled by magazines like Wired. -
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Reviewed by
Scott Brown 25
Describing what's bad about this movie is like describing what's orange about an orange, but suffice it to say that the best performance is given by a crucified raccoon. -
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Reviewed by
Owen Gleiberman 25
Someone (Myers?) came up with the bright idea of turning the Cat in the Hat into the worst Vegas nightclub spritzer of 1958. He's become a furry version of Rip Taylor: a walking, talking vaudeville idiot box. -
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Reviewed by
Owen Gleiberman 25
Isn't up to much of anything besides pretending that swearwords and snot-nosed insults, served up by Santa with an almost institutional monotony, aren't just naughty. They're -- big joke! -- incorrect. -
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Reviewed by
Scott Brown 25
You realize you're watching a snuff film, where the victim isn't just teen innocence but teen romance. -
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Reviewed by
Lisa Schwarzbaum 25
It's a gussied-up sorority-of-rising-stars project produced, I fantasize, by baby-boomer studio guys whose younger spouses articulately defend a woman's right to stay home and raise the kids. -
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Reviewed by
Owen Gleiberman 25
The movie, which strains to be hip in a faux-1985 beat-the-system way, takes such a light view of cheating that it has the ironic effect of rendering the heist that follows utterly innocuous. -
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Critic Score 25
It's tempting to brand the film anti-Semitic, but it's so utterly pointless it lacks even that distinction. -
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Reviewed by
Scott Brown 25
A pretty lousy movie, which would be offensive were it not safely neutered by its own stupidity. -
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Reviewed by
Owen Gleiberman 25
You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.'' -
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Reviewed by
Owen Gleiberman 25
The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47] -
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Reviewed by
Owen Gleiberman 25
The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction. -
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Reviewed by
Lisa Schwarzbaum 25
The movie's mortal failing is echoed in the religious medal Pita gives Creasy in a gift of innocent, uplifting love: Finding heft or coherence within all the lugubrious agitation is a lost cause worthy of St. Jude. -
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Reviewed by
Owen Gleiberman 25
A cheaply made piece of ''psychological'' occult schlock, subjects you to that depressing stop-and-go rhythm that defines inept fantasy thrillers. -
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Reviewed by
Owen Gleiberman 25
Leaves you with the dismaying sensation that Levinson, who should probably be off making his own version of ''The Player,'' has instead crafted a comedy of self-loathing, burying himself in a movie that deserves to be Vapoorized. -
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Reviewed by
Lisa Schwarzbaum 25
The movie may be more bogus than a Gucci bag for sale on a Fifth Avenue sidewalk, but at least the backgrounds are real. -
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Reviewed by
Owen Gleiberman 25
If you were looking for an actress to play a tempestuous, schizophrenic movie-slash-rock star, you might go for Courtney Love or Angelina Jolie, or maybe even Jennifer Connelly. But Rachael Leigh Cook? -
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Reviewed by
Lisa Schwarzbaum 25
The only metatwist missing in the twittering self-regard of this indulgent home movie is the participation of a documentary video crew -- ideally helmed by some TV exec's USC-grad son -- shooting the filmmakers shooting the play within the play. -
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Reviewed by
Owen Gleiberman 25
Instead of rooting for Pullman and Fonda, we end up praying that the crocodile is hungry enough to put them out of their misery. -
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Reviewed by
Lisa Schwarzbaum 25
Stripped of the pleasures of terror, flattened of grandeur (with a tacked-on coda that fairly groans with storytelling defeat), the movie sinks from the weight of its own heavyhandedness. -
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Reviewed by
Owen Gleiberman 25
A witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it. -
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Reviewed by
Owen Gleiberman 25
Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense. -
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Reviewed by
Lisa Schwarzbaum 25
Director Stephen Herek (Mr. Holland's Opus) and screenwriter Tom Schulman (Dead Poets Society) offer no clues, no challenges, nothing to provoke the smallest bubble of curiosity in an audience that waits 40 minutes only to realize Oh, I get it, this isn't going to be Eddie Murphy Funny! -
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Reviewed by
Owen Gleiberman 25
Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic. -
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Reviewed by
Scott Brown 25
The big climax isn't climactic, just hysterical and incoherent. Murphy, with her bug-eyed, love-me mugging, is simply too slight and gawky to play the Everygirl. -
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Reviewed by
Lisa Schwarzbaum 25
Sends comedy backward in time, and we're in the 1970s, ethno-sitcom style: These Andersons in their out-of-date white, snooty gated community apparently confuse themselves with their forebears on The Jeffersons. -
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Reviewed by
Owen Gleiberman 25
Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader. -
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Critic Score 25
Unfortunately, it's impossible to tell from this confused mess (costarring Jakes as himself) what that message is. -
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Reviewed by
Owen Gleiberman 25
An action-choked dud in which even the closing outtakes barely deserve to be left on the cutting-room floor? -
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Reviewed by
Lisa Schwarzbaum 25
What willful streak of perversity inspired Kevin Costner to take on this wacky tale of a letter carrier-turned-postapocalyptic hero? -
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Reviewed by
Lisa Schwarzbaum 25
This is a deeply unpleasant movie masquerading as a heartfelt social commentary on life in these United States. -
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Reviewed by
Owen Gleiberman 25
Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts. -
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Reviewed by
Ty Burr 25
There's not much else for viewers to do but give themselves over to the whims of the bad-movie gods. -
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Reviewed by
Owen Gleiberman 25
Simply put, it may be the lamest movie ever made about poor white... Southern characters. -
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Reviewed by
Owen Gleiberman 25
Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious. -
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Reviewed by
Owen Gleiberman 25
By the end, you feel like a drill sergeant-you want to wipe that stupid grin off Sandler's face. -
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Reviewed by
Owen Gleiberman 25
Screenwriter Kevin Williamson (the Scream trilogy), having bottomed out in the horror genre, now dips below bottom (there isn't a line that has his knowing sweet-and-sour zing). -
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Reviewed by
Owen Gleiberman 25
Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen. -
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Critic Score 25
State Property 2 is no more three-dimensional than your average brand-name-laden hip-hop video. -
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Reviewed by
Lisa Schwarzbaum 25
Because the script, riddled with verbal ugliness by David Elliot and Paul Lovett, sends the movie to a series of arbitrary nowheres, the final showdown for the Mercer boys and their enemies is just as meaningless and sense-deadening. -
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Reviewed by
Owen Gleiberman 25
So badly told that it ends up dissecting a corruption that exudes from nowhere but itself. -
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Reviewed by
Owen Gleiberman 25
As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred. -
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Reviewed by
Lisa Schwarzbaum 25
What Emily doesn't do, though -- what this slow-moving, sour, sloppily assembled teen drama doesn't allow her to do -- is make her predicament of any emotional interest. -
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Reviewed by
Lisa Schwarzbaum 25
The loserville teen comedy Underclassman is like a student project sloppily cribbed from other kids' notes -- kids who have seen "Rush Hour" and still can't get over how funny it is to stick a noisy black guy in a distinctly nonblack setting. -
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Reviewed by
Scott Brown 25
A mud-simple horror trudge set in a swamp colony of Abercrombie models. -
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Critic Score 25
Does a very thorough job of reducing every recognizable member of the cast to probable career lows. -
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Reviewed by
Lisa Schwarzbaum 25
When a Stranger Calls is ba-a-a-a-c-k, in frightless form, updated for the age of anytime minutes and caller ID. -
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Reviewed by
Owen Gleiberman 25
The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch. -
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Critic Score 25
Jazmin's so fat that the movie reduces her to a single discernible characteristic, which is a telltale mark of many a wholly awful comedy. -
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Reviewed by
Lisa Schwarzbaum 25
The mangy joke in the defiantly homemade documentary 95 Miles to Go is that Ray Romano on a business trip is no different from any other schmo, minus the autograph signing. -
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Reviewed by
Owen Gleiberman 25
Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about. -
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Critic Score 25
Astonishingly (and offensively), the witless ending comes down harder on the women than the cad. -
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Reviewed by
Owen Gleiberman 25
A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing. -
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Reviewed by
Lisa Schwarzbaum 25
In a feat of dullness quite powerful in its own way, this lifeless family comedy sucks the joy from every joke it touches. -
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Reviewed by
Owen Gleiberman 25
This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths. -
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Critic Score 25
Unlike "Hostel" or "Wolf Creek," TCM:B is rank and depressing. -
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Reviewed by
Owen Gleiberman 25
A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name. -
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Reviewed by
Owen Gleiberman 25
Hannibal Rising reduces this great creature of the pop imagination to a Eurotrash Boy Scout throwing a homicidal snit fit. -
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Reviewed by
Owen Gleiberman 25
Murphy speaks in a breathy lisp, as if his mouth had been partially buttoned shut, and he doesn't give himself the nerd's traditional redeeming feature of a geeky, slide-rule intellect. Norbit, all frozen gawk, is just a very dim bulb. -
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Critic Score 25
Lake and Fraser never come close to believability as a romantic couple. There's more chemistry going on in a grain of salt. -
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Reviewed by
Lisa Schwarzbaum 25
A crappy thriller gussied up with a chrome-plated veneer. -
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Reviewed by
Owen Gleiberman 25
Chatwin comes off as prickly and annoyed -- they should have called this "Perturbia." -
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Reviewed by
Lisa Schwarzbaum 25
An immediately forgettable action pic directed with a blowtorch by Lee Tamahori. -
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Reviewed by
Owen Gleiberman 25
Vampire in Brooklyn is a horror comedy that mixes lame blood-pellet effects with lame gags, and it clunks along on a series of interchangeably deserted streets that manage to look dank and overlit at the same time. -
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Reviewed by
Owen Gleiberman 25
Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically. -
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Reviewed by
Owen Gleiberman 25
The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was. -
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Reviewed by
Scott Brown 25
Director Sean Ellis has a lovely eye, but he's set the film in his blind spot. Not only can't he distinguish between art and porn, savoring and wallowing, universal truths and exhausted clichés -- he doesn't even seem interested in these distinctions. -
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Reviewed by
Owen Gleiberman 25
In a season of digital bombast, it can be a relief to walk into a stodgy life-of-the-great-man costume drama. Goya's Ghosts, before it turns into a messy, horse-drawn load, achieves a civilized stuffiness that gives off its own mild pleasure. -
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Critic Score 25
Filling in for Eddie Murphy in a septically humored kiddie sequel to "Daddy Day Care," Gooding gives a mug-job performance that consists mainly of reacting (again and again) to nasty smells. -
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Reviewed by
Owen Gleiberman 25
The audience gets the message (religious fanaticism: bad), but nothing we see is convincing on its own. -
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Reviewed by
Owen Gleiberman 25
The morality of revenge is barely at issue in a movie that pushes the plausibility of revenge right over a cliff. -
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Reviewed by
Owen Gleiberman 25
The film completely misses what should have been its real target -- the filming of Game of Death, a martial-arts campfest worthy of Edward D. Wood Jr. -
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Reviewed by
Owen Gleiberman 25
You can expect a lot of shredding and gurgling. 30 Days of Night is relentless, but it's also relentlessly one-note. -
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Reviewed by
Owen Gleiberman 25
The backstories keep piling up, with nods to "The Shining," "The Ring," and a dozen other gothic supernatural chillers, yet the result doesn't remotely scare you. -
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Reviewed by
Lisa Schwarzbaum 25
This garbled American remake of Takashi Miike's already staticky 2004 exercise in J-horror is a wrong number. -
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Reviewed by
Owen Gleiberman 25
Kate Hudson is as blah and dazed as her costar is cloyingly enthused. If it's possible to have too even a tan, Hudson in Fool's Gold would be the poster child for it. -
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Reviewed by
Lisa Schwarzbaum 25
Neither grand enough to be impressive nor antic enough to be charming, the movie settles for bland and frantic, climaxing in a showdown among decadent pyramid builders. How bad are these guys? They're sadists...and, wink wink, sissies. -
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Critic Score 25
Movie is dopey. And with its emphasis on stupid violence, xylophone abs, and getting yourself on YouTube, it's yet another product that makes you feel bad about today's youth culture. -
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Reviewed by
Lisa Schwarzbaum 25
A failing-grade comedy about the wishful triumph of high school dorks over high school bullies. -
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Reviewed by
Owen Gleiberman 25
Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer. -
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Critic Score 25
Even a hilarious turn by Kristen Wiig as the owner of a doughnut company can't save this clichéd, meandering story from playing like "American Beauty" lite. -
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Critic Score 25
Viewers' own evenings, meanwhile, will likely be ruined by unimaginative direction, inane dialogue, and Schaech's passing resemblance to Forrest Gump. -
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Reviewed by
Adam Markovitz 25
Regardless of your personal views, Expelled's heavy-handed bias (a visit to Darwin's home gets the same eerie music as a tour of Dachau) is exasperating. -
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Reviewed by
Lisa Schwarzbaum 25
Everything is wrong pretty much from the start of this misbegotten adventure. -
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Reviewed by
Owen Gleiberman 25
None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat. -
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Reviewed by
Owen Gleiberman 25
It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness. -
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Reviewed by
Adam Markovitz 25
While candy-colored graphics should dazzle kids, Space Chimps has little draw for audiences spoiled by the Pixar-given knowledge that CGI can entertain -- and not just stupefy -- moviegoers of any age. -
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Reviewed by
Owen Gleiberman 25
It's not much fun to see these two reduced to "Mad TV" parodies of themselves. -
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Reviewed by
Owen Gleiberman 25
While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line. -
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Reviewed by
Owen Gleiberman 25
Randall Miller (Bottle Shock), appears to be trying to cross a bad Elmore Leonard thriller with a bad indie-festival family-angst comedy. He gives us the worst of both worlds. -
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Reviewed by
Owen Gleiberman 25
It all makes you want to see a Bollywood movie, all right -- a good one. -
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Critic Score 25
This predictable film wouldn't be effective anywhere outside a DARE program. -
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Reviewed by
Owen Gleiberman 25
Writer-director-stars Zach Cregger and Trevor Moore, of the Whitest Kids U'Know, here prove the crassest, most maladroit moviemakers you know. -
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Reviewed by
Lisa Schwarzbaum 25
A painfully miscast Parker nervously flips her hair and waves her hands, sitcom-style, as a do-gooding dean of students. -
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Reviewed by
Owen Gleiberman 25
A stillborn rendering of Michael Chabon's first novel. -
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Critic Score 25
Don't go expecting an escapist night at the movies; go expecting to be cudgeled into numb, drooling submission. -
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Reviewed by
Adam Markovitz 25
If the movie doesn't even care about its characters, then how can we? -
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Reviewed by
Owen Gleiberman 25
Isn't it time Steve Zahn grew up? Ever since the '90s, this walking quirk of an actor has pushed his dazed solipsistic zaniness (he's like Michael J. Fox’s hillbilly cousin), but he's 41 now, and it no longer looks cute on him. -
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Reviewed by
Owen Gleiberman 25
As the brutish Kable, Gerard Butler must find out who's pulling his strings, but it's the audience whose chain gets yanked by this headache-inducing techno-violent mishmash. -
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Reviewed by
Lisa Schwarzbaum 25
No authentic emotion of any kind happens in this damp, Seattle-based romance, a fizzle for both stars. -
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Reviewed by
Owen Gleiberman 25
The result is a sub-"Saw" knockoff that manages to be brutal yet monotonous, not to mention monstrously unpleasant. -
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Critic Score 25
The tedious flick offers little more than a few scares, and plenty of boobs. And we're not just talking about the cast. -
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Reviewed by
Owen Gleiberman 25
The thinnest, draggiest, and most tediously preachy of the Saw films. -
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Reviewed by
Owen Gleiberman 25
A ponderous dystopian bummer that might be described as "The Road Warrior" without car chases, or "The Road" without humanity. -
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Reviewed by
Lisa Schwarzbaum 25
A creepy, humiliating ''comedy,'' playing to Bullock's worst instincts for demonstrating the lovability of women who don’t fit in. -
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Reviewed by
Owen Gleiberman 25
Whenever an actress takes on a gritty working-class role, the audience does a gut check of authenticity. Either the actress gets it, like Melissa Leo did in "Frozen River," or she doesn't, like Michelle Monaghan as the spoilin'-for-a-fight truck-driver heroine of the inert indie dud Trucker -
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Reviewed by
Adam Markovitz 25
Earns points only for being remarkably unself-conscious about its across-the-board ineptitude. -
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Reviewed by
Lisa Schwarzbaum 25
The answers he strings together are babble in this superficial vanity documentary. Nice shots of awesome, God-approved scenery, though. -
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Reviewed by
Lisa Schwarzbaum 25
Calculatedly soppy, seasonally phony Americanized remake of Giuseppe Tornatore's 1990 "Stanno Tutti Bene." -
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Reviewed by
Lisa Schwarzbaum 25
WDIGMT? serves up speeches about trust and fidelity and rolling with the punches and blah blah blah. But it does so with so little energy that the actors might as well be saying the words blah blah blah. -
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Reviewed by
Owen Gleiberman 25
In Trash Humpers, the latest slovenly, haphazard, is-it-a-travesty-if-it's-bad-on-purpose avant doodle from director Harmony Korine, three figures in rubbery old-age makeup do indeed mimic intercourse with Dumpsters. -
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Reviewed by
Lisa Schwarzbaum 25
The steady drip-drip-drip of nothings like this are killing us all. -
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Reviewed by
Lisa Schwarzbaum 25
As for the splendid Spaniard Javier Bardem, now knocking socks off in "No Country for Old Men," his lot is worst of all. He's miscast as the romantic Florentino. -
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Reviewed by
Owen Gleiberman 25
Taylor Hackford, fails to squeeze the tiniest bit of juice, sexy or comic or otherwise, out of the chintzy-libertine locale. -
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Reviewed by
Scott Brown 25
Sour, sadistic, and stale from sitting on the shelf since the pre-''XXX'' era -- an era I'm starting to miss. -
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Reviewed by
Adam Markovitz 25
No movie -- whether aimed at adults or kids or canines themselves -- has the right to be as tiresome and unoriginal as this action-comedy mutt. -
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Reviewed by
Owen Gleiberman 25
I wish I could say that the film is half as intriguing as it sounds, but A Woman, a Gun... lacks the Coen brothers' precision, their diabolical game-board cleverness. It's a remake in shaggy outline only. -
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Critic Score 25
Afterlife is slow-moving but relentless, and judging from a post-credits teaser that promises yet another sequel, it has an unquenchable appetite for your brain cells. -
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Reviewed by
Adam Markovitz 25
Faster grafts that genre's style onto a deadbeat script and leaves it to Johnson - as deadly focused as a gunsight - to make it all believable.- Posted Dec 13, 2010
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- Posted Jan 26, 2011
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Reviewed by
Adam Markovitz 25
An indistinct romantic-dramedy-ish something or other about the rekindled romance of an actress (Rachel Bilson) and her childhood best friend (Tom Sturridge).- Posted Jan 26, 2011
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Critic Score 25
A far-below-par thriller that desperately wishes it were a different movie - a longing it shares with the audience.- Posted Feb 4, 2011
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Reviewed by
Lisa Schwarzbaum 25
A bummer - slack rather than loose, tired rather than fun.- Posted Feb 11, 2011
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Reviewed by
Owen Gleiberman 25
Anderson has made a zombie movie without the zombies.- Posted Feb 16, 2011
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Reviewed by
Owen Gleiberman 25
Except for the relentless, jittery way that the film has been photographed, there's nothing of interest going on in it. It's all fractious guerrilla-newsreel "style" masquerading a void.- Posted Mar 10, 2011
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Reviewed by
Lisa Schwarzbaum 25
The music screeches, the actors vamp, the knives and weapons and bombs and fireballs fly around the screen. Meanwhile, the well-prepared moviegoer slips into her or his own private fantasy of a world in which movie effects are themselves locked away in an institution for the criminally insane until such time as those effects are really, truly necessary for the story.- Posted Mar 24, 2011
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Reviewed by
Owen Gleiberman 25
It's "Alvin and the Chipmunks" with only one chipmunk, and (if possible) even less fun.- Posted Mar 30, 2011
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Reviewed by
Adam Markovitz 25
Though it doesn't work as entertainment, this numbingly chipper rom-com (directed by Dermot Mulroney) might be of historical value someday as an A-to-Z guide to the genre's most overworked clichés.- Posted May 29, 2011
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Reviewed by
Owen Gleiberman 25
It's one of those stultifying aftermath-of-
a-car-crash movies.- Posted Jul 20, 2011
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Reviewed by
Adam Markovitz 25
A ho-hum series of kills and lulls so predictable that it doesn't even look like much fun for the sharks; when they open wide, they might as well be yawning.- Posted Sep 2, 2011
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Critic Score 25
Bucky Larson is a one-note joke played over and over and over.- Posted Sep 9, 2011
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Reviewed by
Lisa Schwarzbaum 25
Killing looks ridiculously easy in this dispensable exploitation picture, directed for maximum impact of head-cracking pain by ad-trained Irish director Gary McKendry in his first feature.- Posted Sep 21, 2011
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Reviewed by
Owen Gleiberman 25
The title, Machine Gun Preacher, makes it sound like a piece of grindhouse kitsch - and by the time it's over, you'll be thinking, ''If only!''- Posted Sep 21, 2011
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- Posted Jan 27, 2012
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Reviewed by
Lisa Schwarzbaum 25
It's a tragedy, really: According to the hapless team who made the movie, Our Paige is a relatively interesting young liberal who knows her own mind before the accident and a rather tedious, girlish conservative who fusses about keeping her hair smooth afterwards.- Posted Feb 10, 2012
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Reviewed by
Owen Gleiberman 25
Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.- Posted Mar 7, 2012
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Reviewed by
Lisa Schwarzbaum 25
This inauthentic teen tale, with its cosmetically softened edges, serves neither the young people nor the Mendes fans for whom it might be intended.- Posted May 9, 2012
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Reviewed by
Lisa Schwarzbaum 25
In the face of such junk, the idea that Fox would proudly put himself on a punishing regime of severe diet and exercise to get prisoner-skinny-yet-crazy-muscled for the job of make-believe is vanity at best, obscenity at worst.- Posted Oct 20, 2012
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Reviewed by
Lisa Schwarzbaum 25
The title Addicted to Fame hints that Giancola knows enough to count himself among the hooked. But the crappiness of this documentary about a crappy parody of a crappy B movie suggests that he hasn't kicked the habit.- Posted Nov 28, 2012
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Reviewed by
Darren Franich 25
Somehow, it actually looks cheaper than "Paranormal Activity." It's less funny, too.- Posted Apr 12, 2013
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Reviewed by
Lisa Schwarzbaum 16
Maybe the worst thing that can happen is that every other movie at the multiplex will be sold out this weekend. -
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Critic Score 16
By appearing in The Suburbans, a stunningly laugh-free comedy, (Jennifer Love Hewitt)'s already gotten her career-worst movie out of the way. -
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Reviewed by
Owen Gleiberman 16
It will come as no surprise that the movie isn't scary. But here's the real damn: It isn't funny, either. -
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Reviewed by
Owen Gleiberman 16
The movie, a shoddy mess, is a bargain-basement rip-off of ''Ronin." -
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Reviewed by
Owen Gleiberman 16
The definition of aiming low is when the John Hughes film you're ripping off is ''Weird Science." -
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Reviewed by
Owen Gleiberman 16
Stops time, all right -- it stretches 94 minutes into something that begins to feel like infinity. -
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Reviewed by
Bruce Fretts 16
Darkness Falls is like something salvaged from Stephen King's wastebasket. -
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Reviewed by
Lisa Schwarzbaum 16
An awful, stillborn comedy assembled out of rusty spare parts from secret agent movies and run-of-the-mill ''Saturday Night Live'' skits. -
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Reviewed by
Owen Gleiberman 16
The hilarious diminuendo of that title is such that the movie might as well have been called ''Wes Craven Presents: Not a Hell of a Lot.'' -
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Reviewed by
Ty Burr 16
It's nearly unwatchable, a farrago of confusing direction, stupid plot coincidences, and banal dialogue. -
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Reviewed by
Owen Gleiberman 16
Schaeffer's howler of a romantic comedy, which presents itself as a valentine to Clayburgh even as it keeps dreaming up fresh ways to humiliate her. -
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Reviewed by
Owen Gleiberman 16
It has that vintage Polish pace, their signature arch pomposity and rhythmless weirdness, only this time the brothers had to go and make a cosmic allegory of American dreams. -
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Reviewed by
Bruce Fretts 16
The third helping of ''American Pie'' offers little more than crumbs. Half the franchise's core cast (including Mena Suvari, Chris Klein, and Tara Reid) chose to skip the big fat geek wedding. -
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Reviewed by
Owen Gleiberman 16
Serves up the sort of shrill ''satire'' of middle-class Jewish vulgarity in which the mere mention of words like ''brisket'' and ''klezmer'' is automatically presumed to be hilarious. -
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Reviewed by
Lisa Schwarzbaum 16
To a character, every man in this faux-homey burg has been castrated! They're all impotent buffoons! -
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Reviewed by
Owen Gleiberman 16
The Punisher is a moronically inept and tedious piece of death-wish trash. -
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Critic Score 16
In Resident Evil: Apocalypse, the undead are back to stumbling in the dark, sometimes even in blurry slo-mo, making the many packs of them about as terrifying as the mobs waiting for Matt and Katie outside the "Today" studio. -
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Reviewed by
Owen Gleiberman 16
Nothing in Imaginary Heroes rings true, least of all a plot that lightly combines domestic abuse, adulterous pregnancy, teen bisexuality, job abandonment, and a possible case of Mysterious Movie Disease. These are not ordinary people. Or real ones. -
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Critic Score 16
Even Christians hip to TBN preachers' peculiar eschatology may be baffled by the incoherent wrap-up, which provides the stingiest Second Coming since the third ''Omen ''movie. -
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Reviewed by
Lisa Schwarzbaum 16
A Scottish weepie of such bathos and balderdash that it deserves a drinking game in its rotten honor. -
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Reviewed by
Lisa Schwarzbaum 16
The movie wants so badly to be mentioned in the same breath as "Heathers" or "Election" that it's not even funny. Really, I mean it, this charred-black comedy is not even funny. -
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Reviewed by
Owen Gleiberman 16
The result is a dead pile of information in search of a movie. -
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Reviewed by
Owen Gleiberman 16
Fragmented and monotonous, without a semblance of the gymnastic cleverness that at least made the first Mortal Kombat film into watchable trash, Mortal Kombat Annihilation is as debased as movies come. -
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Reviewed by
Owen Gleiberman 16
Selma Blair, the one vibrant actress in a cast of colorless screamers (including Tom Welling from Smallville and Maggie Grace from Lost), takes Adrienne Barbeau's old role. -
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Reviewed by
Lisa Schwarzbaum 16
All I know is that something has gone terribly, drum-beatingly wrong in Congo (Paramount, PG-13), and you can sense Jungle Trouble brewing from the git-go. -
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Reviewed by
Lisa Schwarzbaum 16
Firewall is a witless entertainment, and a derivative one, too; it's everything listless about Hollywood in February, everything discardable about the genre in general. -
