For 4,810 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 3.7 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: 2,904 out of 4810
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Mixed: 1,357 out of 4810
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Negative: 549 out of 4810
4,810
movie reviews
- By critic score
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Reviewed by
Lisa Schwarzbaum 33
So let's hear it for the giant wig of Pre-Raphaelite gray corkscrews planted on the noggin of Jane Fonda as a glamorous hippie grandma. The hairdo meets its match in the dull Ann Taylor togs encasing Catherine Keener: That's how you know Granny's daughter is an uptight lawyer.- Posted Jun 6, 2012
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Reviewed by
Adam Markovitz 33
Cooper, who looks appealingly wolfish in his expensively tailored suits, plays the whole thing with a dutiful, earnest expression lacquered on his face, his eyes misting on cue at the exact same moments yours will be rolling into the back of your head.- Posted Sep 8, 2012
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Reviewed by
Lisa Schwarzbaum 33
Self-righteous and smug in its use of heartland stereotypes, the movie backfires by assuming that its intended liberal audience is just as intolerant and condescending as the conservative opposition insists it is.- Posted Sep 19, 2012
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Critic Score 33
This movie has no courage and little brains, and is salvaged, if at all, only by its heart. There remains a huge market for a great Halloween teen comedy, but Fun Size is the disappointing apple that your crazy-haired neighbor gives you instead of candy.- Posted Oct 24, 2012
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Reviewed by
Keith Staskiewicz 33
Some horror movies want to scare you witless, but Silent Hill: Revelation 3D just wants to beat you senseless.- Posted Oct 26, 2012
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Reviewed by
Owen Gleiberman 33
The movie wants to be deadly cool, but mostly it's just deadly.- Posted Nov 7, 2012
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Reviewed by
Owen Gleiberman 33
Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.- Posted Feb 7, 2013
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Reviewed by
Owen Gleiberman 33
The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.- Posted Feb 12, 2013
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Reviewed by
Owen Gleiberman 33
I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.- Posted Apr 3, 2013
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Reviewed by
Bruce Fretts 33
Have there ever been two less energetic stars than Eric Stoltz and Annabella Sciorra? Casting this diffident duo in an allegedly romantic comedy proves disastrous; they suck the air out of virtually every scene.- Posted Apr 16, 2013
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Reviewed by
Owen Gleiberman 25
As anyone who has peered in on the actual WNBA for five minutes knows, professional women basketball players are as tough as men. That the film treats this as a joke isn't funny -- it's the height of lame condescension. -
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Critic Score 25
Never mind that the film's portrayal of the mentally ill is on a par with "There's Something About Mary" -- the clumsy moral that we were all better off as hunters and gatherers couldn't be sillier. -
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Reviewed by
Owen Gleiberman 25
Kollek is a fringe auteur who makes independent films the old fashioned way: no budget, static camera, a script that telegraphs its tiny, paste gem ironies. -
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Reviewed by
Owen Gleiberman 25
The entire movie has the meaninglessly burnished, sunglasses-at-midnight glow of an early-'90s car commercial -- a visual scheme guaranteed to leave the audience squinting between yawns. -
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Reviewed by
Lisa Schwarzbaum 25
As distressed as a comedy can be without qualifying as a snow emergency. -
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Reviewed by
Lisa Schwarzbaum 25
Director Peter O'Fallon fires his biggest gun: a blast of Mozart's Ave Verum Corpus, truly heavenly music wasted on a handful of dust. -
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Reviewed by
Lisa Schwarzbaum 25
Three stories by the guy who wrote Trainspotting, banged and smashed into a film by Paul McGuigan with none of Trainspotting's charm and all its grotesquerie. -
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Reviewed by
Owen Gleiberman 25
If you've been longing to see the worst family entertainment of 1966, A Dog of Flanders may be the movie for you. -
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Reviewed by
Bruce Fretts 25
A distasteful zeitgeist cocktail tracking the booze-fueled sexcapades of eight repellent L.A. singles. -
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Reviewed by
Lisa Schwarzbaum 25
The mood is ruined by the bitchy 1990s stereotyping of the husband hunters. -
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Reviewed by
Ty Burr 25
Musketeer's fight scenes are underlit, overmiked, and appallingly edited, with none of the spacious grace that even routine Asian action flicks get right. Worse, the narrative scenes make less sense. -
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Reviewed by
Owen Gleiberman 25
This ''satire'' of triple-X raunch and ''Jerry Springer'' sleaze starts off at a pitch of preening dementia and just grows more hysterical from there. -
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Reviewed by
Owen Gleiberman 25
Another racial cartoon buddy movie that eagerly flogs its best laugh -- indeed, its only laugh -- in the trailer. -
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Reviewed by
Lisa Schwarzbaum 25
Stumbling adaptation of a Sam Shepard play about men, horses, chance, and lies. -
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Reviewed by
Lisa Schwarzbaum 25
Just coarse, clunky, jerry rigged, and -- worst of all -- not funny. -
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Reviewed by
Owen Gleiberman 25
A convoluted ''dweeb meets the Mob'' farce in which everyone is trying to kill everyone else, but it's the movie that's the real corpse -- albeit a busy, twitching one. -
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Reviewed by
Owen Gleiberman 25
Critics tend to fawn over the Japanese director-star Takeshi Kitano (a.k.a. Beat Takeshi), but am I the only one who finds his films impossible to make heads or tails of? -
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Critic Score 25
So what is real? Only the boredom of the audience as the film collapses from one meaningless false-bottom environment to the next. -
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Reviewed by
Lisa Schwarzbaum 25
It's young-Hollywood-driven business as usual in this derivative, nasty, and ultimately empty drama. -
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Reviewed by
Lisa Schwarzbaum 25
Mostly about slapping together a bunch of clichés -- outdated clichés at that -- regarding the loneliness of ambitious women. -
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Reviewed by
Owen Gleiberman 25
Starts out as a neo-Pygmalion comedy, but the film is slow, earnest, and rhythmless. -
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Reviewed by
Owen Gleiberman 25
It's an utterly fake nostalgia piece -- stupid and pandering, a bad-boy teen flick that plays less like a loving look at the late '70s than a terrible movie from the late '70s. -
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Reviewed by
Owen Gleiberman 25
The only performer I enjoyed watching was Martin Short, who plays a bitch dandy music teacher with a smile so fake that the comedian seems to be acting with his gums. -
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Reviewed by
Bruce Fretts 25
Aa shockingly chintzy spin-off of Fox's post ''Pokémon'' cartoon hit. -
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Reviewed by
Lisa Schwarzbaum 25
Unlike in ''Freaky Friday,'' no magic spells are involved. Nor is there any of ''Freaky'''s marvelous charm in this ungainly Manhattan fairy tale, directed by indulgent sentimentalist Boaz Yakin. -
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Reviewed by
Lisa Schwarzbaum 25
Plays out like a variation on an old design dictum: If you can't make it good, make it big. -
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Reviewed by
Lisa Schwarzbaum 25
A parent-and-kid-oriented comedy about the adventures of men doing the hard work of mommies, which couldn't be more timely -- or less delightful. -
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Reviewed by
Owen Gleiberman 25
It barely boasts enough funny material to fill four minutes. -
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Reviewed by
Owen Gleiberman 25
God-awful?Gooding screams out lines like ''I'm about to get in yo' ass like last year's underwear!'' -
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Reviewed by
Lisa Schwarzbaum 25
A sodden drama of filial conflict that dares the audience to confuse the characters with the players. P.T. Barnum couldn't have come up with a better hook, but he would have rewarded his suckers with more ''On Golden Pond'' entertainment bang for their buck. -
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Reviewed by
Lisa Schwarzbaum 25
Isn't a movie, it's Gorgonzola, a crumbly summertime stinker veined with pop-cultural fungus. -
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Reviewed by
Lisa Schwarzbaum 25
Even in the summertime, the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities. Movies like XXX -- a big 000 -- don't deserve our $$$. -
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Reviewed by
Owen Gleiberman 25
Just when you're sure that Deuce Bigalow: Male Gigolo can't get any less funny, the movie douses the trailer's best gag, as that prosthetic leg turns out to be attached to Deuce's true love. -
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Reviewed by
Lisa Schwarzbaum 25
A tuneless variation on the working girl-captivates-Mr. Big formula that has propelled fairy tales as old as Cinderella. -
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Reviewed by
Owen Gleiberman 25
The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms. -
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Reviewed by
Owen Gleiberman 25
Would like to be a Halloween treat, but it's more like a nightmare of blandness. -
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Reviewed by
Owen Gleiberman 25
Just a lumbering, poorly photographed piece of derivative sci-fi drivel, full of grunting extras scampering around in animal pelts and more dank, trash-strewn sets than I ever care to see again. -
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Reviewed by
Owen Gleiberman 25
Is less an end in itself than an excuse, a jumping off point for showy, contrived, borderline exploitation sequences that fail to tie together because they're not really there to do anything but sell themselves as money shot thrills. -
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Reviewed by
Owen Gleiberman 25
Allen is no more convincing than the writer-director, Chris Ver Wiel, who strings together faux-QT, faux-Elmore Leonard clichés like so many necklace beads and pretends that's the same thing as making a movie. -
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Reviewed by
Lisa Schwarzbaum 25
The film squanders every opportunity (and international-coproduction cent) on by now imitative Nine Inch Nails-video-style visual Goth-goo, and, scarily, forgets to input a plot or script that makes any sense. -
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Reviewed by
Owen Gleiberman 25
Jason Lee seems to have been bitten by a vampire who sucked out all his prickly charisma. You see the promise of stardom dribbling through his fingers. -
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Reviewed by
Owen Gleiberman 25
How appealing is Muniz, taking a break from ''Malcolm in the Middle,'' a day job he should by no means let go of? -
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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. -
