Movieline's Scores

  • Movies
For 693 reviews, this publication has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Artist
Lowest review score: 5 The Roommate
Score distribution:
  1. Negative: 41 out of 693
693 movie reviews
  1. The animation itself is technically gorgeous, a class act all the way. But there's so little to be found in the faces of the characters, or even in the way their limbs move (much of it adopted, cleverly enough, from Tati's own physical style), that it's not clear what we're supposed to feel for them.
  2. It's a slender story of mourning that manages some lovely bits of mood while also being dreary and a little preposterous in its spareness.
  3. Robin Williams, who's sometimes too overbearing in real-life live action, makes a great cartoon-character voice.
    • 65 Metascore
    • 60 Critic Score
    Had the movie been made with two different lead actors, I surely believe the movie would have been unwatchable.
  4. Ferrell and Galifianakis both do what they've proven they can do so well in the past, while McDermott, clad in all black, is surprisingly good in a comedic role.
  5. Like the Inuit and their many words for "snow," Jake has a thousand squinty faces and they all mean "Bugger off."
  6. Takes forever to get going and then goes nowhere.
  7. Peepli Live opens out slowly to encompass several factions of Indian society, including the press, local, state, and federal politicians, and the shady elements binding them all together. It's a meticulously engineered design that a show like The Wire took several years to execute; here the strain shows within the first half hour.
    • 50 Metascore
    • 60 Critic Score
    The film's feel-good message is undermined by its ultimate purpose: As a vindication of the rights of Jewish mothers to annoy their children as much as they please.
  8. A movie about childhood nightmares that plays too much like an actual, incoherent nightmare to make a good movie, Intruders is a psychodrama divided against itself.
    • 61 Metascore
    • 60 Critic Score
    So it's too bad 10 Years isn't, you know, funny.
  9. The degree to which they are willing to share their bodies with the world, seeming to reach out for it with each impossible extension, drawing it in with every reeling arabesque, suggests a desire for engagement that is visceral, human, and true in all the ways this film is not.
  10. While it's not quite enough to fuel a whole feature, the premise of Tucker & Dale vs Evil is a slice of meta-genre brilliance.
  11. It's hard to say whether Sound of My Voice is a wholly bogus and pretentious indie enterprise or a weirdly compelling bit of low-budget storytelling.
  12. Most wonderful of all is Josh Brolin as the young Agent K. It's so easy to believe that Brolin could turn into Jones, given a couple of decades.
    • 49 Metascore
    • 60 Critic Score
    You can't help but feel that the ambition of Henry's Crime was determined by the near anonymity of its title - the movie seems to be ensconcing itself into the Witness Relocation Program.
  13. Hickenlooper too often approaches his subject with the filmmaking equivalent of a wry chuckle.
  14. Bella's an empowered badass in this last installment, wielding newborn strength while showing unusual self-control and learning to use her new abilities - and that's why things feel off.
  15. The film also comes across like a rough cut that was never looked at as a coherent whole, and some segments that start off as promising become interminable while others feel entirely unnecessary. There's no pressure on or expectation for Tarantino to please anyone other than himself, and the film feels overstuffed with ideas that should have been pruned.
  16. As lukewarm as We Have a Pope may be as a piece of filmmaking, Moretti doesn't tread particularly gently into sacred territory. The picture could be more irreverent, but at least it dares to suggest that popes are people too.
  17. Even at a generous running time that matches this season's other giant award candidates, Les Misérables seems like it's in a hurry, skittering from one number to the next without interlude. After Hathaway's early high point, it starts to feel numbing, an unending barrage of musical emoting carrying us through Valjean's adopting of Cosette, the latter's first encounter with Marius, the battle at the barricade and a last hour that can feel like it's a non-stop series of death arias.
  18. It goes down like a canned but genial '80s comedy: Without fanfare or much nutrition; part of your balanced breakfast.
  19. While Survival of the Dead does its best to work up a decent allegorical bent -- this time involving territorial pissing matches within a country under siege -- its power is diffused (and frankly, confused) by its execution.
  20. Getting a movie's setup right is one thing. But following through on an intriguing premise is the hard part, and that's where Matthew Chapman's The Ledge, a thriller that wrangles with intricate ideas about faith and religious extremism, goes splat.
  21. Despite these two actors' decent - and occasionally very charming - performances the film stacks the odds of the audience caring about Heigl and Duhamel against a narrative vacuum that favors eye candy and cheap effect over emotional logic.
    • 73 Metascore
    • 60 Critic Score
    Gere does his best to give Arbitrage an agitated energy, but Jarecki's fatalism works against the film.
  22. Step Up Revolution is also not a movie you watch for its incredible story and dialogue. The film doesn't even share much connective tissue with its predecessors save for an appearance from Adam Sevani as Moose.
  23. The Debt shortchanges itself severely with the weight it gives the portion of its story set further in the past.
  24. The story of Pi and Richard Parker already has the clean simplicity of a myth and really doesn't require significant elaboration, but following in the footsteps of the source material, the film provides elaboration anyway, demonstrating a condescension to the audience that dulls the spectacle it punctuates.
  25. The Lucky One aspires to but never reaches the grandly melodramatic heights of the über-Sparks adaptation "The Notebook," though a reconciliation embrace in an outdoor shower of some sort seems deliberately staged to evoke the earlier feature.

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