Movieline's Scores

  • Movies
For 692 reviews, this publication has graded:
  • 70% higher than the average critic
  • 2% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Somewhere
Lowest review score: 5 The Roommate
Score distribution:
  1. Negative: 41 out of 692
692 movie reviews
  1. Most of Stephen Frears' Tamara Drewe is so breezily entertaining, and so bracingly clear-eyed about what total pains in the asses writers can be, that its final 15 minutes feel like an all-wrong slap in the face.
  2. Because the film is overproduced and unconvincing in telegraphing its several gestural themes, its excellent lead performances get lost in what feels like an aesthetic tug of war over what a movie should be, and do.
  3. A companion film to "Days of Glory," Rachid Bouchareb's 2006 feature about Algerian soldiers who fought for France in World War II, Outside the Law is another historical drama with a heavy heart and a knack for genre.
  4. Perry weaves together not just the individual stories but their arcs, sustaining the emotional tenor across the progress of nine lives.
  5. As potentially appealing as these two actors might be, there's just nowhere for this story to go.
  6. Tries too hard and ultimately achieves less. It's undone by its own inferiority complex.
  7. Rao's ultimate achievements - including a balanced, doleful tone and moments of city symphony elegance - are undercut by the arrangement of her characters into narrative castes that cross paths but can't quite connect.
  8. Mostly, The Mechanic creaks and groans as it goes through the motions, and not even its lavish violence - which includes much smashing of heads and a nasty screwdriver stabbing - is particularly electrifying.
  9. Hopkins is having a blast, and he's fun to watch.
    • 45 Metascore
    • 65 Critic Score
    The Comedy of Emasculation that Judd Apatow and his disciples have made into a separate economy was invented by the Farrelly brothers.
  10. There's a lot that works in Heartbeats - so much that its flaws stand out in disappointingly sharp relief.
  11. The chief reason to see Potiche - maybe the only reason - is Deneuve.
  12. Bier appears to have a delicate touch with actors: In a Better World is loaded - perhaps overloaded - with nuance, and her performers never overdo a thing.
  13. It would have a very good shot at being entertaining were it not so outwardly concerned with being important.
  14. The bad news is that The Conspirator - doesn't have enough crackle.
  15. Rio
    If nothing else, Rio is unabashedly jubilant.
  16. Fox and Rourke embody Lily and Nate's lost souls with vulnerability that's at once strikingly sincere and strange, particularly for two actors renowned for their impunity both on and off screen.
  17. Bridesmaids is the Bride of Frankenstein of contemporary comedies, a movie stitched together crudely, and only semi-successfully, from random chick flick and bromance parts.
  18. The picture is cluttered and convoluted and big, and Marshall - taking over the reins from Gore Verbinski - doesn't seem to grasp how exhausting nonstop action can be.
  19. The Tree of Life is gorgeous to look at. It's also a gargantuan work of pretension and cleverly concealed self-absorption masquerading as spiritual exploration.
  20. The timing couldn't be more opportunistic for a new Steven Spielberg movie that mines the thrilling uncertainties of childhood - even if it happens to have been made by J.J. Abrams.
  21. The goof on New York's awful elite only gets grimmer and less viable as the film goes on.
  22. You'll have to hang on to something to get through the hairpins in The Perfect Host, a chamber piece hostage thriller black comedy undone less by its twists than by the stretches of bad road between them.
  23. The story's obvious and various potential is left to stand on its own, and the scares are largely uninspired.
  24. I'd say you had to be there, but over the course of Magic Trip we learn that the majority of the people who were there didn't want to be there.
  25. For every line or gag that works, there are three or four more that seem to belong in a different movie altogether, either a darker one or a breezier one.
  26. Fright Night glides into its first climax with some funny touches but without building much structure or suspense.
  27. Where Joffe purposely departs from "Brighton Rock" deprives his movie of the book's most revelatory element: Faith. Gorgeous, ambitious and daring as it often is, Brighton Rock has no soul.
  28. A few shots of full frontal and an actual devil to point to are poor substitutes for exposure and depth of character.
  29. Shark Night isn't fantastic, but it's a good enough time, and it'll never be better than when it's watched with a rowdy crowd in a theater.

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