For 4,805 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: 2,899 out of 4805
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Mixed: 1,357 out of 4805
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Negative: 549 out of 4805
4,805
movie reviews
- By critic score
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Reviewed by
Lisa Schwarzbaum 33
Every porridgy inmate in this instantly forgettable romp warbles in the prison's amateur musical, and one of them demonstrates a rather extreme devotion to the tomatoes he grows in the on-site greenhouse. -
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Reviewed by
Owen Gleiberman 33
The fusion of cheekiness and deliberately overscaled fantasy never jells. -
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Critic Score 33
Director Walter Hill won't take credit for Supernova... Can you blame him? -
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Reviewed by
Bruce Fretts 33
This sequel adds more insults and injuries that could traumatize little ones. Most frightening of all, the ending leaves the door open for ''103 Dalmatians,'' which would certainly constitute Cruella and unusual punishment. -
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Critic Score 33
If you put the scripts for ''West Side Story,'' ''Mean Streets,'' and ''The Warriors'' in a blender, you might wind up with something like Deuces Wild, a preposterously melodramatic paean to gang-member teens in Brooklyn circa 1958. -
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Reviewed by
Lisa Schwarzbaum 33
A film not even a star as foxed and foxy as Johnny Depp himself could save. -
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Reviewed by
Owen Gleiberman 33
Has all the mood enhancing flavor of a tropical cocktail made with watered down rum and fake fruit juice. -
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Reviewed by
Lisa Schwarzbaum 33
This toothless thriller...feels like a strained reworking of ''The Fugitive.'' -
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Critic Score 33
As campy as a flick by Banderas' evident artistic mentor, Pedro Almódovar. -
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Reviewed by
Lisa Schwarzbaum 33
The characters who cross paths here in the hard shadows of late-'90s New York City are meant to convey loneliness, bitterness, neediness, loss, and bad karma. Mostly, they convey bad Sundance. -
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Reviewed by
Lisa Schwarzbaum 33
Nobody's got a clue. Enquiring minds don't even want to know. -
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Reviewed by
Lisa Schwarzbaum 33
A recitation of woes doesn't constitute a plot, and panoramic shots of migrating wildlife don't convey enough African flavor. -
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Reviewed by
Lisa Schwarzbaum 33
McCarthy's rawhide has become movie Naugahyde, a substance unknown in literature or in nature. -
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Reviewed by
Owen Gleiberman 33
The Avengers is too enervated to qualify as even a full-scale disaster. -
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Reviewed by
Owen Gleiberman 33
Few comedies have worked this hard to make everyone on screen look this dumb. -
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Reviewed by
Owen Gleiberman 33
The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP. -
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Reviewed by
Owen Gleiberman 33
It just makes you want to flip on the tube to see the real (fake) thing. -
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Critic Score 33
Really, the sole favor Dolman does the plucky Hawn is to light her rear end so that its continued gloriousness can be appreciated. -
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Reviewed by
Owen Gleiberman 33
The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings. -
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Reviewed by
Bruce Fretts 33
It's like the worst movie Jean-Claude Van Damme never made. -
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Reviewed by
Lisa Schwarzbaum 33
Features the dullest, least lifelike collection of pals this side of "Eyes Wide Shut." -
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Reviewed by
Owen Gleiberman 33
If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you. -
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Reviewed by
Lisa Schwarzbaum 33
No worse than any disease-of-the-week TV movie, and no more moralistic than any Lifetime drama. But it's no better, either, and it ought to be. -
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Reviewed by
Owen Gleiberman 33
This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was. -
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Reviewed by
Owen Gleiberman 33
Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again. -
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Reviewed by
Lisa Schwarzbaum 33
A demented, orgiastically gory vampire/sex parable. -
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Critic Score 33
A tired action thriller determined to play the race card every which way for every which kind of viewer, seems hopelessly behind the curve. -
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Reviewed by
Lisa Schwarzbaum 33
Without any of the patented Farrelly insight into the insecure, horndoggy teen in every man, and without a grown-up setting in which Harry and Lloyd can transgress like dum-dum geniuses,Dumb and Dumberer is dumberest. -
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Reviewed by
Owen Gleiberman 33
It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood. -
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Reviewed by
Owen Gleiberman 33
It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it. -
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Critic Score 33
Sitting on your couch watching these morons sit on their couch and get wasted is like being the only straight guest at a pot party. Everyone else is laughing, and you're left wondering why. -
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Reviewed by
Lisa Schwarzbaum 33
The few jaunty, ''Friends''-inflected lines Perry does get off are lost among the cow pies. -
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Reviewed by
Bruce Fretts 33
The only pleasure to be derived from the resulting carnage comes from the Rube Goldbergesque chain reactions that precede each fatality. -
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Reviewed by
Owen Gleiberman 33
If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut. -
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Reviewed by
Bruce Fretts 33
With his tousled mane and wispy facial hair, Asian pop star/ Prada model Kaneshiro suggests a Japanese Johnny Depp, but even his charisma can't carry Returner through its interminable longueurs. Blame it on Yamazaki. -
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Reviewed by
Owen Gleiberman 33
Tame and witless enough to make me long for the ancient, dusty fright kitsch of ''The Munsters.'' -
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Reviewed by
Scott Brown 33
''Kid'' seeks to ''empower'' its target audience of recent Pokémon grads with an adult antihero desperation that feels preemptive and inappropriate. -
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Critic Score 33
Exhibits none of the infectious offhand tastelessness of their hit show and all of the insistent overkill of a Mel Brooks joke gone horribly wrong. -
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Reviewed by
Scott Brown 33
For all I know, Ryan's performance could be a dead-on Kallen impression. But what she appears to be doing is an impression of Johnny Depp doing an impression of Keith Richards doing an impression of Liz Taylor. -
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Reviewed by
Owen Gleiberman 33
The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen. -
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Reviewed by
Bruce Fretts 33
Commits the cardinal sin of too many modern movies: It never gives the audience a clue why any of these people were ever attracted to one another in the first place. [30 May 1997, p. 54] -
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Reviewed by
Lisa Schwarzbaum 33
Ultimately, the talented cast -- among them M. Emmet Walsh, Faye Dunaway, Skeet Ulrich, and Viggo Mortensen -- play to their easiest star turns rather than their most interesting strengths. -
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Reviewed by
Owen Gleiberman 33
The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack. -
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Reviewed by
Owen Gleiberman 33
Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess. -
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Reviewed by
Lisa Schwarzbaum 33
The film values quips and declamations over natural conversation (or an explanation of how such intelligent women could have been so blind to world events). -
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Reviewed by
Owen Gleiberman 33
"Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects. -
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Reviewed by
Lisa Schwarzbaum 33
There's no enjoyably outlandish hiss to this variation on the formula, and no Ice Cube or Owen Wilson, either. This time, a ship of capitalist fools (and no movie stars, unless you count utility player Morris Chestnut as a headliner) steams along the river in Borneo. -
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Reviewed by
Owen Gleiberman 33
Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had. -
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Critic Score 33
The experiment didn't work. The English-language production is a jumble of poorly delineated notions about love, celebrity, the look of romantic movies, and the sound of American-style dialogue - and it's been sitting on the shelf for over a year. -
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Reviewed by
Bruce Fretts 33
But when the writers run out of ideas, they simply have Farley walk into a lamppost, or cop from old SNL skits. -
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Reviewed by
Owen Gleiberman 33
In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad. -
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Reviewed by
Lisa Schwarzbaum 33
What's on screen is lazy, second-rate, phoned-in -- a heist in which it's the audience whose pockets have been picked. -
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Reviewed by
Lisa Schwarzbaum 33
If your allergy to comedies bred from British style mugging crossed with Disney style prancing has, like mine, flared up in recent years, this hybrid from writer director Joel Hershman (''Hold Me, Thrill Me, Kiss Me'') will make you wheeze. -
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Reviewed by
Owen Gleiberman 33
Lawrence is so ON that he appears to be gunning for clockwork bursts of audience approval. -
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Reviewed by
Lisa Schwarzbaum 33
Just as all regular models can't be supermodels, so all action chicks can't be superheroines. Elektra Natchios turns out to be walled off rather than mysteriously alluring; blank rather than deep. -
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Reviewed by
Owen Gleiberman 33
It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad. -
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Reviewed by
Lisa Schwarzbaum 33
This is strictly substandard stuff, with imitative creepy noises, vertiginous camera angles, and long pauses. -
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Critic Score 33
Its greatest achievement is that there isn't a single convincing scene in it. -
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Reviewed by
Owen Gleiberman 33
Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded. -
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Reviewed by
Scott Brown 33
Generic hip-hop soundtrack? Check. Aerial stock footage of milieu? Check. Hardy-har homophobia and misogyny? Check. Emasculated sub-Gump white dude played by Jay Mohr? Double check. -
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Reviewed by
Scott Brown 33
The main problem? Raid lacks a center. It's an exhausted sprawl with multiple story foci, none of them terribly compelling. -
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Reviewed by
Scott Brown 33
Too mild to be dirty, yet too dirty to be charming, and altogether too generic to be much of anything. -
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Reviewed by
Owen Gleiberman 33
Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clichés. -
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Reviewed by
Lisa Schwarzbaum 33
An Unfinished Life is inert, kaput -- a middlebrow mush of platitudes rather than an okay corral of distinct characters with heartbeats. It's awful not in an exciting, uncontrolled way but in an overly controlled, narcotized way. -
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Reviewed by
Lisa Schwarzbaum 33
Yet Speed 2 is as slow-moving as a garbage scow. Those blinking lights might as well be emanating from a vital-signs monitor. The story is dead in the water. -
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Reviewed by
Owen Gleiberman 33
The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness. -
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Critic Score 33
What you have is less a sequel to a not-so-bad remake than yet another remake, this one of that not-so-great 1988 John Candy comedy "The Great Outdoors." -
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Reviewed by
Lisa Schwarzbaum 33
A mess -- all high concept, stranded performances, and no laughs. -
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Reviewed by
Lisa Schwarzbaum 33
British director Mike Barker and magpie New York screenwriter Howard Himelstein, have taken "Lady Windermere's Fan" - Wilde's first big stage success, written in 1892 - and pulped it senseless in the name of puttin' on the charm. -
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Critic Score 33
At least London nails the inanity of drug-speak - the bathroom chat quickly devolves from God and ''time horizons'' to coprophilia and a truly dumb confessional tirade by Statham - although perhaps this achievement is unintentional. -
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Reviewed by
Lisa Schwarzbaum 33
A notorious opinion divider last year at Cannes, Battle in Heaven is less about heaven or battle, or hell on earth, or the soul of Mexico, and all too much about gawking. And so, for all the ''shock'' of the movie's clinical carnality, this battle is lost. -
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Reviewed by
Scott Brown 33
Running is a fevered smashup, as if Hollywood dug up Sam Peckinpah's corpse and forced it to adapt "Grand Theft Auto: Vice City" for the screen. -
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Reviewed by
Owen Gleiberman 33
Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things. -
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Reviewed by
Ty Burr 33
Carpool is affably stupid Saturday-matinee fare -- good for opiating the kids for a few hours -- but let's just say it's no Big Bully. -
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Reviewed by
Owen Gleiberman 33
Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin. -
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Reviewed by
Owen Gleiberman 33
A few of the images are startling, but as Radha Mitchell (a good actress) wanders through a ghost town, searching for her lost daughter as though she was touring an abandoned movie set, Silent Hill is mostly paralyzing in its vagueness. -
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Reviewed by
Lisa Schwarzbaum 33
Insistently sullen, nihilistic, and successful to the point of smugness at transmitting buzzkill, Art School Confidential is the second collaboration between art-house cartoonist Daniel Clowes and director Terry Zwigoff. -
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Reviewed by
Owen Gleiberman 33
Even in her dullest vehicle, Lindsay Lohan exudes an unfakable shine. -
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Reviewed by
Owen Gleiberman 33
You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for. -
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Reviewed by
Lisa Schwarzbaum 33
Yes indeed, Pirates 2.0 is a theme ride, if by ride you mean a hellish contraption into which a ticket holder is strapped, overstimulated but unsatisfied, and unable to disengage until the operator releases the restraining harness. -
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Reviewed by
Scott Brown 33
Some movies make love look schematic. The Trouble With Men + Women makes those films look stunningly insightful. -
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Reviewed by
Owen Gleiberman 33
At least Ribisi's fake-cojones histrionics are fun. The rest of this "Donnie Brasco" knockoff, with James Marsden as a Gulf War veteran who goes undercover, is a turgid, ketchup-spattered dud. -
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Reviewed by
Scott Brown 33
Burns pads around Gotham, yammering yesterday's op-eds about Disneyfication and ''classic New York holdouts.'' He somehow manages to sound fogyish AND immature. -
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Reviewed by
Owen Gleiberman 33
The results in Employee of the Month are toothless. -
