Film.com's Scores

  • Movies
For 1,504 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 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Schindler's List
Lowest review score: 0 Tomcats
Score distribution:
1,504 movie reviews
  1. 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.
  2. 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.
  3. 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”.
  4. 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.
    • 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.
  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. Hollow, uninteresting and false.
  10. The Smurfs 2 is not so much of a film as it is a collection of images and sounds that bludgeon you.
  11. A shapelessly propulsive mess of pop psychology and poor drama.
  12. 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.
  13. A film that inserts banal plot devices and endless cutesiness in place of where the “good parts” should be.
  14. 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.
  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. Embarrassing and weird.
  20. 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.
  21. Not a very good movie; it's sentimental, pandering and psychologically anorexic.
  22. Too self-consciously dark, too aware of its long, murky, art-designed descent into the underbelly of America's addictive personality.
  23. Limp direction, laughable production values, accent-heaving acting and dialogue and more lumps than three-day-old oatmeal.
  24. Stardom just doesn't have enough anger or conviction to carry it to a satisfying finish.
  25. Nymphomaniac Vol. 1 is the worst thing Lars Von Trier has ever associated himself with.
  26. 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.
  27. Afailed attempt at a hipster screwball comedy. Very failed.
    • 52 Metascore
    • 30 Critic Score
    So relentlessly vanilla that it never springs to life.
  28. Loses touch with its characters.

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