's Scores

  • Movies
For 1,503 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Saving Private Ryan
Lowest review score: 0 Movie 43
Score distribution:
1,503 movie reviews
  1. Just another lame slacker comedy.
  2. Beautiful is a mess, but not without interest.
  3. Obvious in its observations, predictable in its conclusions, and a little dull in the telling.
  4. This film, a remake of a hapless 1974 cheapie of the same title, can't even get the big chase right.
  5. As flat as the brim of a Mountie hat.
  6. Computer technology may be the actual phantom menace, after all.
  7. Just because you can make a movie in a day doesn't necessarily mean moviegoers should take an hour and a half to watch it.
  8. For Stallone, and his original script for Driven reflects a more mature, self-effacing perspective.
  9. It's blatantly manipulative pairing of an adorable young boy and a selfish, honesty-challenged older woman [is] so calculating that I could never get emotionally involved.
  10. Moss -- in her first big role since "The Matrix" -- is the main reason to see Red Planet, a badly written and visually scenic space opus.
  11. Everything about the movie is fine and dandy and dull.
  12. She's not a real person, in any way, shape or form -- which makes watching Lara Croft: Tomb Raider, the first in a projected series of live-action films based around her exploits, a visually spectacular yet oddly cheerless experience.
  13. A fireworks show with plenty of "oohs" but not a lot of "aah" -- the story is needlessly convoluted in places and storybook-simple in others, and the characters never make the leap from drawn figures to flesh-and-blood people.
  14. It's a notch above average, but Whatever It Takes can't get too far above that notch.
  15. Visually stunning but emotionally shallow.
  16. This much-anticipated but terribly underwhelming black comedy represents a seriously squandered opportunity.
  17. Tragic and phony, and proof that a contrived sad ending can be as bad as a contrived happy ending.
  18. The film looks horrendous, poorly composed and staged, and the rhythm staggers.
  19. Despite this chance to experience something thrilling and new, her life is just as dull the second time around.
    • 34 Metascore
    • 40 Critic Score
    What on earth is Stockard Channing doing in this mess?
  20. But as objectionable as its subject matter is, the most objectionable thing is that it's not funny.
  21. A dud. Neither sweet nor low-down enough by half.
  22. Self-conscious clunker.
  23. Recycled "Steel Magnolias."
  24. Has its dull spots, and is unintentionally laugh-out-loud funny at times -- but isn't that what we expect?
  25. He spent 28 years in prison and this is what he gets?
  26. That it’s not totally dialed in throughout makes it a victim of the same thing most bad movies fall prey to: having the spark of a great idea rested awkwardly on top of a spinning mess of execution.
    • 28 Metascore
    • 40 Critic Score
    Maladies is at least watchable, though just barely.
  27. The execution of that script – is so clumsy and over-written that nothing in it sticks. There’s a symphony of visuals here, and big strange ideas, but when it comes to the actual characters, we get automatons sleepwalking through clichés.
  28. Eastwood, who once upon a time was a flavorful director, is working in movie-of-the-week mode here. Cheesy, direct, bland.
  29. The only thing moviegoers will hate more than the phony, faux-felt conversations of About Alex at its worst is the unfulfilled promise its high points suggest when it’s at its best.
  30. A slumming Spike Lee is still better than most directors at the top of their game, but Oldboy isn’t just Lee’s worst movie, it’s practically his “Wicker Man”.
  31. While the art of action filmmaking depreciates, Harlin remains steadfast in his classicism, even if the movie doesn’t have the foundation to support him.
  32. The film is confusingly and sloppily put together, edited down to the point that the few genuine jokes of Let’s Be Cops are given precious little time to breathe, before zipping into the next sequence of increasingly irrational events.
    • 46 Metascore
    • 39 Critic Score
    Even the love story doesn’t work, because Moretz and Blackley exhibit zero romantic chemistry, and it’s never exactly clear why the pair love each other so much.
  33. Tina Fey is in the film, for heaven’s sake, and I love her to pieces, but by now we know to expect something humdrum when she’s on a movie screen.
  34. The absolute antithesis to the pioneering punk spirit it tries to portray.
  35. In fact, The Internship rivals the aggressively bland “Larry Crowne” for sheer tepidness, if not worse due to the exhaustive product placement for a company whose real-life presence is unlikely to soon wane.
  36. There is a legitimate film in here somewhere, buried deep beneath the rubble of its terrible script and editing.
  37. Not every book should be made into a film and, as appears to be the case with Winter’s Tale, not every book can be (especially this one).
  38. A shapelessly propulsive mess of pop psychology and poor drama.
  39. Thanks for Sharing can’t quite find its footing as either a drama or a comedy, and near the end it’s actively sliding off the rails.
  40. Hollow, uninteresting and false.
  41. The Smurfs 2 is not so much of a film as it is a collection of images and sounds that bludgeon you.
  42. A film that inserts banal plot devices and endless cutesiness in place of where the “good parts” should be.
  43. The first sixty minutes of Pompeii are awful, bordering on unwatchable... The final forty-five minutes of the movie however are, by sheer force of will, irrefutably entertaining. At least there’s raining death in the form of fireballs smashing up the place.
  44. Sound nonsensical? It is.
  45. Not recommended for anyone but the hardiest of animation completists, this one is a definite skip. There’s nothing to note, nothing to grasp, nothing in which to find mirth. You could Escape from Planet Earth, but you’re better off just ignoring it.
  46. An active affront to logic, placing us in a world we firmly know doesn’t exist.
  47. Like a swollen boxer's eye, it should have been cut.
  48. Embarrassing and weird.
  49. The Wolverine reveals itself to be a film in desperate need of a point, in dire need of consequences and in a wandering search of any semblance of emotional weight.
  50. I can't imagine why De Niro, who is a fine comedian, is still coasting on his gangster act, and surely Crystal can do something other than play feels a little like an exercise in laziness.
  51. Atrocious bit of by-the-numbers screen filler. And anyone who easily lapses into sugar comas is advised to stay far, far away.
  52. The small reward is the cool, confident presence of DMX, who shows signs of being a great leading man. But only in a much smarter, more original movie.
  53. So very general in its characters and story that it actively keeps you from enjoying the simple pleasures of a movie like this.
  54. The humor is, at best, thudding. At its worst, it's breathtakingly stupid and offensive.
  55. Mangold ultimately can't displace memories of "An Angel at My Table," "Lilith," "The Snake Pit," "I Never Promised You a Rose Garden" and other, stronger accounts of young women placed in mental institutions.
  56. Quite shameless in imitating its predecessors.
  57. Gun Shy can't rise on wobbly legs, and its real potential is lost for good.
  58. Afailed attempt at a hipster screwball comedy. Very failed.
  59. The new dud from Miramax's Dimension label.
  60. A painfully unfunny movie.
  61. It may have a good liberal conscience, and genuine sympathy for the rare perspective of a homeless person, but this movie is a fundamentally sentimental exercise.
  62. Gets my vote for the summer's most offensive movie.
  63. Utterly unnecessary sequel.
  64. A nonsensical mishmash.
  65. The movie is a mess.
  66. Mud-stained, blood-soaked and completely useless.
  67. Limp direction, laughable production values, accent-heaving acting and dialogue and more lumps than three-day-old oatmeal.
  68. One of the least endurable films of 1999.
  69. Not a very good movie; it's sentimental, pandering and psychologically anorexic.
  70. The real problem is that it's not a very good Hollywood film, and its flaccid style, cardboard characters, and paint-by-the-numbers plot make watching it a chore.
    • 52 Metascore
    • 30 Critic Score
    So relentlessly vanilla that it never springs to life.
  71. Derivative, cliché-ridden and old hat.
  72. The visual fireworks and catchy score just underline the extreme superficiality of the material.
    • 40 Metascore
    • 30 Critic Score
    Seems to be an exercise not unlike the phone-booth stuffing of the '50s; namely, let's see how much plot we can fit into a movie before it bursts.
    • 47 Metascore
    • 30 Critic Score
    Stretched too thin, looks cheap, and can't quite go the distance.
    • 46 Metascore
    • 30 Critic Score
    Appears to be several different movies spliced together, with unfortunate results.
  73. It has every element necessary to be a classic, and it never comes anywhere near achieving that potential.
  74. What we have here is a small story in an oversized setting.
  75. Hopefully, the next time around, Chadha's imagination will be in the service of not just excellent casting and directing, but a script to match those other cinematic components.
  76. 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.
  77. 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.
  78. It's all quite precious, just not in a good way: "Postmodern" to a fault, deeply shallow, infuriatingly trite.
  79. Stardom just doesn't have enough anger or conviction to carry it to a satisfying finish.
  80. It's very much like a porn film without the porn, and that's about as bad as it gets.
  81. As with most non-Disney animated features, Trumpet of the Swan does make the Mouse look like a genius.
  82. Little entertainment value.
  83. A largely unenlightening work.
  84. A One-Joke Show.
  85. You'll laugh, but you'll hate yourself by the time you're out of the theater.
  86. In trying to avoid moralizing or cheap sensationalizing, Didier sidestepped any energy force altogether and his film snoozes because of it.
  87. This overdone project dissipates its energy in strange ways (sudden shifts to black-and-white, as though hailing the spirit of Oliver Stone and that other Costner JFK movie), and makes you wish its makers had shown the same restraint the government did during the crisis.
  88. There is no obvious reason for the film's meandering existence: it's a series of beautifully photographed postcards of Africa.
  89. It just doesn't work. Worse, it's downright offensive.
  90. A long portrait of someone who outstays his welcome fairly early on.
  91. A big disappointment.
  92. Never more than a dull, paint-by-numbers, overly literal transcription of the book.
  93. Looks plain silly without an appropriate tone or sustaining context.
    • 44 Metascore
    • 30 Critic Score
    Vatel is really about production design, so if you're not absolutely passionate about 18th century table-settings, wigs and bodices, you might as well just stay at home and watch the Food Channel.
  94. Misbegotten comedy-drama.
  95. In all, this film is a major disappointment with a few powerful highlights.
  96. Loses touch with its characters.
  97. Simplistic and non-controversial, and thus is virtually guaranteed commercial success.
  98. Appalling because it never transcends its adolescent-boy glee at being allowed entry to the highly sexualized arena of prostitution.
  99. Overpraised, intellectually soft, narratively unfocused, and thematically ambivalent.
  100. A standard morality tale, and looks especially weak in the shadow of "Eyes Wide Shut" and "Fight Club," which it resembles.
  101. The collapse of Office Space's second half is so egregious that one can't help but suspect Judge's Achilles heel may be his writing. It's not that he can't write -- it's just that his ideas tend to shine better within a pool of fellow scribes, as proven in his television career.
  102. An often gorgeous, dizzying assault of ideas and visual's just not very good.
  103. Doesn't have the courage or inclination to go inside of Dick's ideas, or offer any kind of structured or detailed approach to his thinking or writing.
  104. The film isn't very good. The Million Dollar Hotel is an uneasy melding of Hollywood shtick and art-house sensibilities.
  105. The fact that isolated bits are amusing shouldn't keep us from strongly noting that this movie really is pretty awful -- not at all worthy of guilty pleasure status.
  106. An amazing compendium of dumb behavior, bad dialogue, and incoherent direction.
  107. Too self-consciously dark, too aware of its long, murky, art-designed descent into the underbelly of America's addictive personality.
  108. Floating this material slightly above the assembly-line level is the energetic cast and the efforts of writer-director Kris Isacsson.
  109. An excruciating misfire.
  110. Charlize Theron has charm and skill, but no actress could survive this role, which has the gravity and verisimilitude of a sketch from a late-sixties Nancy Sinatra TV special.
  111. Has some good throwaway gags -- but far too often, the moviemakers don't throw them away soon enough.
    • 28 Metascore
    • 20 Critic Score
    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.
    • 55 Metascore
    • 30 Critic Score
    A terrible, tired piece of filmmaking.
  112. Drop Dead Gorgeous eventually shows that it doesn't like anybody -- in the movie or in the audience.
  113. About an hour after you've seen it, you'll already be fuzzy on just who was screwing who, and why
  114. It's insulting and devalues the experience of watching not just this film but all films.
  115. By any measure, 'Temptation' ranks amongst Tyler Perry's worst.
    • 46 Metascore
    • 30 Critic Score
    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.
  116. 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.
  117. Naming aside, Epic could have been good, except that it wasn’t, it was stone cold terrible, something even a six-year-old might scoff at. I know, I’m just as sad as you are about the whole thing.
  118. The whole picture is lifeless and without consequence.
  119. It’s just boring – and boring in a way that apparently has no endgame.
  120. Nymphomaniac Vol. 1 is the worst thing Lars Von Trier has ever associated himself with.
  121. We all have childhoods to remember. Art needs to do more than just remind us.
  122. Teenage Mutant Ninja Turtles isn’t a movie; it’s a brand re-launch that’s going to satisfy stockholders far more than it’s going to entertain the people who paid to watch it.
  123. Cripplingly lifeless.
  124. Plainly unfunny.
  125. The best word to describe it is strange, though it could have been halfway decent (yes, all the way up to halfway decent) if the third act hadn’t succumbed to the crescendo of craziness that had been building for the first hour.
  126. The Lifeguard is a painfully dull (alleged) drama utterly lacking in originality or self-awareness.
  127. Even when compared against other films that have been adapted from Nicholas Sparks novels, Safe Haven is terrible.
  128. 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.
  129. 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.
  130. Assisted by passionless central performances and dull dialogue, Mungiu succeeds only in exhausting our patience, not in conveying a message.
  131. This is a story that has everything you’re looking for, provided that you’re looking for absolutely nothing.
  132. “Expendables 3” has fewer nauseating clichés than The Judge.
  133. A relentlessly unfunny, charmless send-up of better films with better ideas.
  134. The film blinks too fast to maintain a coherent vision.
  135. Good vs. Evil For Dummies....and I, for one, dislike being treated like a Dummy.
  136. Sly, slick and slow.
  137. Looks and moves like a film whose vital organs were yanked before shooting commenced.
  138. Dumb and irritating.
    • 43 Metascore
    • 20 Critic Score
    It's just not funny.
  139. Sarandon prostitutes her blazing talent and sharp political sensibility to the service of a pile of misogynistic bullflop.
  140. With any luck, Body Shots will quickly slide into video obscurity.
  141. It's hard to think of a single memorable line from Restaurant, even a memorably bad one.
  142. If you've seen one "Scream" rip-off, you really have seen them all.
    • 21 Metascore
    • 10 Critic Score
    Mostly dreadful.
  143. The worst thing you can accuse an unutterably bad movie of is sincerity.
  144. Exists in some kind of limbo, between hard-core porn and European art film, and it's not likely to satisfy fans of either.
  145. Has its - very - occasionally funny moments, so does a car crash.
  146. Tired, overcomplicated mix of macho bullshit.
  147. A clumsy and tone-deaf comedy.
  148. 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.
  149. Nearly incomprehensible story.
  150. 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.
  151. 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.
  152. It does... apply Kitano's black-comic style to a different setting, and individual scenes sparkle with unexpected jokes, twists, and occasional cruelties.
  153. In the end, Butterfly is an infuriating film because it's so very contrived, so annoyingly phony.
  154. Slouches in as a weightless, instantly forgettable picture.
  155. Mr Kumble: Keep your hands off the classics! You don't deserve to read them, let alone paraphrase them.
  156. It probably helps to be loaded while you're watching this movie.
  157. Lyonne, as usual, does her best...but she's running uphill.
  158. John, John, John -- one more bad-guy role in a bad movie and you're going to need another comeback.
  159. 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.
  160. Borderline incoherent.
  161. Everyone will be indifferent, as indifferent and uncaring as the characters the film portrays.
  162. It's sporadically funny but often unfunny, the latter worse than not being funny enough.
  163. One imagines what the failed farce Drowning Mona would have been like in the hands of the Coen brothers.
  164. Could have afforded to be a little loftier and still be quite funny. Instead, it's a waste.
  165. 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.
  166. A frenetic spoof of 1961's disastrous Bay of Pigs invasion, Company Man is likely to be forgotten quickly by audiences.
  167. 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.
  168. 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.
  169. I just really, really, really, don't like this movie, and I don't care who knows it.
  170. 15 Minutes is simply a bad movie.
  171. Watching Left Behind's plodding screen adaptation may make you feel the Deity has already abandoned us to a shockingly dull post-apocalypse.
  172. Horribly slapdash affair.
  173. A crap film that's steeped in liberal paranoia, but it's also so ludicrous that it falls under the guilty-pleasure category.
  174. Maybe Kevin Bacon can use the Twinkie defense to explain Hollow Man.
  175. There's a lost opportunity here.
  176. 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.
  177. A dismal film, a flop as both 21st-century romantic comedy and gay "Kramer vs. Kramer."
  178. A bad movie about a great man.
  179. I don't like Say It Isn't So, but I understand its karmic inevitability.
  180. Dreadful suspense piece that has "Mystery Science Theater" appeal written all over it.
  181. Despite a lead performance by the always welcome Julianne Moore it is rudderless in its presentation and outright stupid in its central conceits.
  182. Fading Gigolo wants to be some sort of sunny tapestry about New York’s social groups, but it’s impossible to see past its absurd premise.
  183. For a movie with the ostensible mission of spreading the Gospel, it does a poor job of speaking to anyone except the faithful.
  184. 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.
  185. Ti West’s pointless new film The Sacrament, an exercise in talking loud and saying nothing, isn’t just bad, it’s infuriating.
  186. After Earth stupefies us with nonsense, such little thought and logic went into this idea that it can’t even be considered a rough draft, this is a movie almost daring an audience to emotionally detach throughout. For shame!
  187. Relentlessly awful.
  188. Disgusting and humorless mess.
  189. 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 just stay at home with the Discovery Channel.
  190. I see Austin Powers as Myers' desperate cry for help -- a plea to stop him before he does schtick again.
  191. God-awful.
  192. A sequel from hell.
  193. We're forced to listen to misogynistic rantings devoid of wit, entertainment value, or even authenticity.
  194. Merely reconfigures the same predictable gross-out jokes, sentimental platitudes, and decorative sex that figure into half the screenplays in circulation.
  195. Almost unbearable.
  196. In the end, Malena is an unlikable and foul farce, unworthy of Tornatore's previously gentle touch.
  197. Flawed at its very core.
  198. Where's the comedy?
  199. Lost its chance to be anything but an endurance test for the viewer.
  200. An assault on brain cells.
  201. 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.
  202. A black comedy that never gets black enough to inspire Farrelly-style decadence.
  203. This reprehensible and deeply unfunny film is obviously critic-proof.
  204. An almost total waste of time.
  205. Another droning formulaic thriller.
    • 14 Metascore
    • 10 Critic Score
    Silly teen thriller.
  206. Atrocious comedy.
  207. Some things just don't translate . . . not with Lipnicki attached, at any rate. Stick with the books.
  208. In the pantheon of cinematic train wrecks, from "Ishtar" to "Waterworld," set a place at the table for Battlefield Earth.
  209. Valentine simply mines the same tired, predictable slasher-movie vein as everything else he's (Blanks) done thus far. Send this one back unopened.
  210. Has even less directorial initiative than it has romantic spark.
  211. The animation is only marginally better than the TV show, which means it stinks, and the story is pretty trite.
  212. There isn't a moment of wonder or poetry in its very long 69 minutes.
  213. Kids -- may like this movie. But kids like green ketchup, so what do they know?
  214. Do not bring children to this movie unless you want them to have nightmares for weeks.
  215. A dismal new serial-killer thing.
  216. It's just another bad horror film with inadequate young actors chased around a big house by something.
  217. 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.
  218. Does this mean that Sabotage is a rich, morally complex story about the gray zone between good and evil? Hell, no. It just means it is a bungle.
    • 17 Metascore
    • 10 Critic Score
    In the running for worst film of the year... and it's only April.
  219. 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.
  220. Insufferably boring, culturally hegemonic, and profoundly ugly.
  221. The film isn't merely bungled. It's starved and battered by Lichtenstein.
  222. It's not just bad, it's ugly. Not just stupid but really aesthetically displeasing. The sooner this movie disappears from sight, the better.
    • 42 Metascore
    • 0 Critic Score
    What were they thinking?
  223. Re-adjust the levels of cinematic hell, because "Porky's" just got bumped up a notch.
  224. 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.
  225. A Haunted House, its despicable bigotry aside, is also a not-very-good comedy.

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