Film.com's Scores

  • Movies
For 1,485 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Gatekeepers
Lowest review score: 0 Whipped
Score distribution:
1,485 movie reviews
  1. 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”.
  2. 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.
  3. 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.
  4. 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.
  5. The absolute antithesis to the pioneering punk spirit it tries to portray.
  6. 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.
  7. There is a legitimate film in here somewhere, buried deep beneath the rubble of its terrible script and editing.
  8. 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).
  9. A shapelessly propulsive mess of pop psychology and poor drama.
  10. 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.
  11. Hollow, uninteresting and false.
  12. The Smurfs 2 is not so much of a film as it is a collection of images and sounds that bludgeon you.
  13. A film that inserts banal plot devices and endless cutesiness in place of where the “good parts” should be.
  14. 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.
  15. Sound nonsensical? It is.
  16. 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.
  17. An active affront to logic, placing us in a world we firmly know doesn’t exist.
  18. Like a swollen boxer's eye, it should have been cut.
  19. 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.
  20. 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 himself...it feels a little like an exercise in laziness.
    • Film.com
  21. Atrocious bit of by-the-numbers screen filler. And anyone who easily lapses into sugar comas is advised to stay far, far away.
    • Film.com
  22. 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.
  23. So very general in its characters and story that it actively keeps you from enjoying the simple pleasures of a movie like this.
  24. The humor is, at best, thudding. At its worst, it's breathtakingly stupid and offensive.
  25. 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.
  26. Quite shameless in imitating its predecessors.
  27. Gun Shy can't rise on wobbly legs, and its real potential is lost for good.
  28. Afailed attempt at a hipster screwball comedy. Very failed.
  29. The new dud from Miramax's Dimension label.
  30. A painfully unfunny movie.
  31. 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.
  32. Gets my vote for the summer's most offensive movie.
  33. Utterly unnecessary sequel.
  34. A nonsensical mishmash.
  35. The movie is a mess.
  36. Mud-stained, blood-soaked and completely useless.
  37. Limp direction, laughable production values, accent-heaving acting and dialogue and more lumps than three-day-old oatmeal.
  38. One of the least endurable films of 1999.
  39. Not a very good movie; it's sentimental, pandering and psychologically anorexic.
  40. 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.
  41. Derivative, cliché-ridden and old hat.
  42. 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.
  43. It has every element necessary to be a classic, and it never comes anywhere near achieving that potential.
  44. What we have here is a small story in an oversized setting.
  45. 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.
  46. 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.
  47. 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.
  48. It's all quite precious, just not in a good way: "Postmodern" to a fault, deeply shallow, infuriatingly trite.
  49. Stardom just doesn't have enough anger or conviction to carry it to a satisfying finish.
  50. It's very much like a porn film without the porn, and that's about as bad as it gets.
  51. As with most non-Disney animated features, Trumpet of the Swan does make the Mouse look like a genius.
  52. Little entertainment value.
  53. A largely unenlightening work.
    • Film.com
  54. A One-Joke Show.
  55. You'll laugh, but you'll hate yourself by the time you're out of the theater.
  56. In trying to avoid moralizing or cheap sensationalizing, Didier sidestepped any energy force altogether and his film snoozes because of it.
  57. 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.
  58. There is no obvious reason for the film's meandering existence: it's a series of beautifully photographed postcards of Africa.
  59. It just doesn't work. Worse, it's downright offensive.
  60. A long portrait of someone who outstays his welcome fairly early on.
  61. A big disappointment.
  62. Never more than a dull, paint-by-numbers, overly literal transcription of the book.
  63. 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.
  64. Misbegotten comedy-drama.
  65. In all, this film is a major disappointment with a few powerful highlights.
    • Film.com
  66. Loses touch with its characters.
  67. Simplistic and non-controversial, and thus is virtually guaranteed commercial success.
  68. Appalling because it never transcends its adolescent-boy glee at being allowed entry to the highly sexualized arena of prostitution.
  69. Overpraised, intellectually soft, narratively unfocused, and thematically ambivalent.
    • Film.com
  70. A standard morality tale, and looks especially weak in the shadow of "Eyes Wide Shut" and "Fight Club," which it resembles.
  71. 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.
    • Film.com
  72. An often gorgeous, dizzying assault of ideas and visual flourishes...it's just not very good.
  73. 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.
  74. The film isn't very good. The Million Dollar Hotel is an uneasy melding of Hollywood shtick and art-house sensibilities.
  75. Computer technology may be the actual phantom menace, after all.
    • Film.com
  76. 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.
  77. An amazing compendium of dumb behavior, bad dialogue, and incoherent direction.
  78. Too self-consciously dark, too aware of its long, murky, art-designed descent into the underbelly of America's addictive personality.
  79. Floating this material slightly above the assembly-line level is the energetic cast and the efforts of writer-director Kris Isacsson.
  80. An excruciating misfire.
  81. 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.
  82. 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.
  83. Drop Dead Gorgeous eventually shows that it doesn't like anybody -- in the movie or in the audience.
    • Film.com
  84. About an hour after you've seen it, you'll already be fuzzy on just who was screwing who, and why
  85. Visually stunning but emotionally shallow.
  86. It's insulting and devalues the experience of watching not just this film but all films.
  87. But as objectionable as its subject matter is, the most objectionable thing is that it's not funny.
  88. A dud. Neither sweet nor low-down enough by half.
  89. Recycled "Steel Magnolias."
  90. 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.
  91. 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.
  92. 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.

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