Film.com's Scores

  • Movies
For 1,193 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score:
Critic Score 100
Lowest review score:
Critic Score 0
Score distribution:
1,193 movie reviews
  1. About an hour after you've seen it, you'll already be fuzzy on just who was screwing who, and why
  2. Visually stunning but emotionally shallow.
  3. It's insulting and devalues the experience of watching not just this film but all films.
  4. But as objectionable as its subject matter is, the most objectionable thing is that it's not funny.
  5. A dud. Neither sweet nor low-down enough by half.
  6. Recycled "Steel Magnolias."
  7. By any measure, 'Temptation' ranks amongst Tyler Perry's worst.
    • Metascore: 46
    • Critic Score 30
    The screenplay is far too obsessed with the setup, and not at all concerned with making the villains even the least bit believable or scary.
  8. The prolific 76-year-old British creator of character-rich, social dramas steeped in natural realism (usually) has whiffed it and whiffed it hard with this one. It’s not that it’s just “lesser Loach.” It is, in my opinion at least, humiliating.
  9. Even when compared against other films that have been adapted from Nicholas Sparks novels, Safe Haven is terrible.
  10. The most frightening thing about the franchise at this point is that it just keeps on going, undaunted by the characteristics by which the first film made its name. Family is still family and a brand is still a brand, but the blade… well, it’s only grown dull.
  11. Yes, surely for them, the lucky few and probable many, 21 and Over will be the Best Movie Ever. For the rest of us, though, it’s something of a chore.
    • Metascore: 79
    • Critic Score 25
    Assisted by passionless central performances and dull dialogue, Mungiu succeeds only in exhausting our patience, not in conveying a message.
  12. Good vs. Evil For Dummies....and I, for one, dislike being treated like a Dummy.
  13. So very general in its characters and story that it actively keeps you from enjoying the simple pleasures of a movie like this.
  14. Sly, slick and slow.
  15. Looks and moves like a film whose vital organs were yanked before shooting commenced.
  16. Dumb and irritating.
    • Metascore: 43
    • Critic Score 20
    It's just not funny.
  17. A painfully unfunny movie.
  18. Gets my vote for the summer's most offensive movie.
  19. Mud-stained, blood-soaked and completely useless.
  20. Sarandon prostitutes her blazing talent and sharp political sensibility to the service of a pile of misogynistic bullflop.
  21. One of the least endurable films of 1999.
  22. With any luck, Body Shots will quickly slide into video obscurity.
  23. It's hard to think of a single memorable line from Restaurant, even a memorably bad one.
  24. If you've seen one "Scream" rip-off, you really have seen them all.
  25. Not a very good movie; it's sentimental, pandering and psychologically anorexic.
    • Metascore: 21
    • Critic Score 10
    Mostly dreadful.
  26. The worst thing you can accuse an unutterably bad movie of is sincerity.
  27. Exists in some kind of limbo, between hard-core porn and European art film, and it's not likely to satisfy fans of either.
  28. Has its - very - occasionally funny moments, so does a car crash.
  29. Tired, overcomplicated mix of macho bullshit.
  30. A clumsy and tone-deaf comedy.
  31. Ephron is still a director whose movies veer uncomfortably between the good -- make that adequate -- "You've Got Mail", the bad "This Is My Life" and the ugly Lucky Numbers. Pity.
  32. These are good people, yet the director has them carrying on like community theater actors playing to the balcony. It isn't fair to them, and it isn't fitting for Shakespeare.
  33. Full of sound and fury, signifying absolutely nothing, End of Days is the loudest and least of the year's end-of-the-world movies.
  34. It's very much like a porn film without the porn, and that's about as bad as it gets.
  35. Nearly incomprehensible story.
  36. A One-Joke Show.
  37. It's little more than a loose assemblage of Hollywood action movie formulas: "Dirty Harry" and assorted cop/buddy flicks are the clear models for the movie.
  38. Are two Demis better than one? How you answer will determine the level of patience you'll need to sit through this bizarre pet project.
  39. It does... apply Kitano's black-comic style to a different setting, and individual scenes sparkle with unexpected jokes, twists, and occasional cruelties.
  40. In the end, Butterfly is an infuriating film because it's so very contrived, so annoyingly phony.
  41. Slouches in as a weightless, instantly forgettable picture.
  42. Mr Kumble: Keep your hands off the classics! You don't deserve to read them, let alone paraphrase them.
  43. It probably helps to be loaded while you're watching this movie.
  44. Lyonne, as usual, does her best...but she's running uphill.
  45. John, John, John -- one more bad-guy role in a bad movie and you're going to need another comeback.
  46. Chaotic, peurile, loaded with sniggering commentary and obsessed with breasts, Saving Silverman is like a 90-minute walk through a 13-year-old boy's head.
  47. Borderline incoherent.
  48. Everyone will be indifferent, as indifferent and uncaring as the characters the film portrays.
  49. It's sporadically funny but often unfunny, the latter worse than not being funny enough.
  50. One imagines what the failed farce Drowning Mona would have been like in the hands of the Coen brothers.
  51. Could have afforded to be a little loftier and still be quite funny. Instead, it's a waste.
  52. Pandering and tired, Down to Earth lurches from one dead gag to the other, in search of both comedic rhythm and a dramatic pulse. It finds neither.
  53. Misbegotten comedy-drama.
  54. A frenetic spoof of 1961's disastrous Bay of Pigs invasion, Company Man is likely to be forgotten quickly by audiences.
  55. If you're already a huge fan of any of these artists, this film will be a lovefest. For all others, it's a mild diversion at best.
  56. This anti-narrative screwball comedy, a sort of police-drama re-enactment of Fellini's themes in "8 1/2," keeps most of the jokes off-screen.
  57. I just really, really, really, don't like this movie, and I don't care who knows it.
  58. 15 Minutes is simply a bad movie.
  59. Watching Left Behind's plodding screen adaptation may make you feel the Deity has already abandoned us to a shockingly dull post-apocalypse.
  60. Horribly slapdash affair.
  61. A crap film that's steeped in liberal paranoia, but it's also so ludicrous that it falls under the guilty-pleasure category.
  62. Maybe Kevin Bacon can use the Twinkie defense to explain Hollow Man.
  63. There's a lost opportunity here.
  64. Slow-moving and violent mess...feels slow even at a scant 82 minutes...Even by the slack standards of Van Damme's oeuvre, "The Return" is a letdown.
    • Metascore: 28
    • Critic Score 20
    Lurches on for the better part of two hours with a ludicrous plot and even worse dialogue, interspersed with what look like excerpts from a music video made by some naughty Catholic-school graduates.
  65. A dismal film, a flop as both 21st-century romantic comedy and gay "Kramer vs. Kramer."
  66. The film looks horrendous, poorly composed and staged, and the rhythm staggers.
  67. Despite this chance to experience something thrilling and new, her life is just as dull the second time around.
  68. Self-conscious clunker.
  69. A bad movie about a great man.
  70. I don't like Say It Isn't So, but I understand its karmic inevitability.
  71. Dreadful suspense piece that has "Mystery Science Theater" appeal written all over it.
  72. Despite a lead performance by the always welcome Julianne Moore it is rudderless in its presentation and outright stupid in its central conceits.
  73. The entire enterprise is a bewildering mess, put in place only to frustrate and alienate anyone who buys a ticket. Every action scene is telegraphed, and most of the dialogue is irrevocably stupid.
  74. Disgusting and humorless mess.
  75. If you're looking for something child-appropriate that'll actually keep the little darlings awake for two hours straight, you'd do better...and cheaper...to just stay at home with the Discovery Channel.
  76. I see Austin Powers as Myers' desperate cry for help -- a plea to stop him before he does schtick again.
  77. God-awful.
  78. A sequel from hell.
  79. We're forced to listen to misogynistic rantings devoid of wit, entertainment value, or even authenticity.
  80. Merely reconfigures the same predictable gross-out jokes, sentimental platitudes, and decorative sex that figure into half the screenplays in circulation.
  81. Utterly unnecessary sequel.
  82. Almost unbearable.
  83. In the end, Malena is an unlikable and foul farce, unworthy of Tornatore's previously gentle touch.
  84. Flawed at its very core.
  85. Where's the comedy?
  86. Lost its chance to be anything but an endurance test for the viewer.
  87. An assault on brain cells.
  88. I just wanted to rail against the casual homophobia, the senseless violence and the sociopathic cruelty that Ready to Rumble treats as good clean fun.
  89. A black comedy that never gets black enough to inspire Farrelly-style decadence.
  90. This reprehensible and deeply unfunny film is obviously critic-proof.
  91. An almost total waste of time.
  92. Another droning formulaic thriller.
    • Metascore: 14
    • Critic Score 10
    Silly teen thriller.
  93. Atrocious comedy.
  94. Some things just don't translate . . . not with Lipnicki attached, at any rate. Stick with the books.
  95. In the pantheon of cinematic train wrecks, from "Ishtar" to "Waterworld," set a place at the table for Battlefield Earth.
  96. Valentine simply mines the same tired, predictable slasher-movie vein as everything else he's (Blanks) done thus far. Send this one back unopened.
  97. An amazing compendium of dumb behavior, bad dialogue, and incoherent direction.
  98. Has even less directorial initiative than it has romantic spark.
  99. The animation is only marginally better than the TV show, which means it stinks, and the story is pretty trite.
  100. There isn't a moment of wonder or poetry in its very long 69 minutes.
  101. Kids -- may like this movie. But kids like green ketchup, so what do they know?
  102. Drop Dead Gorgeous eventually shows that it doesn't like anybody -- in the movie or in the audience.
  103. Do not bring children to this movie unless you want them to have nightmares for weeks.
  104. A dismal new serial-killer thing.
  105. It's just another bad horror film with inadequate young actors chased around a big house by something.
  106. So you'll laugh during Big Momma's House -- but the laughs are so negligible you'll probably forget them before you get to the parking lot.
  107. Scary Movie 5 is so massively un-enjoyable, a hate crime against cinema, a ringing indictment of the depths commercialism will go to in search of the lowest common denominator.
  108. Atrocious bit of by-the-numbers screen filler. And anyone who easily lapses into sugar comas is advised to stay far, far away.
  109. The film isn't merely bungled. It's starved and battered by Lichtenstein.
  110. It's not just bad, it's ugly. Not just stupid but really aesthetically displeasing. The sooner this movie disappears from sight, the better.
    • Metascore: 42
    • Critic Score 0
    What were they thinking?
  111. Re-adjust the levels of cinematic hell, because "Porky's" just got bumped up a notch.
  112. An epically miserable viewing experience, go ahead and skip this one unless you’re seeking to answer the riddle of what happens when people don’t try at their jobs.
  113. A Haunted House, its despicable bigotry aside, is also a not-very-good comedy.