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 3.3 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 693
693 movie reviews
  1. Portman is also a producer of Hesher; it is the first of her new company's films. It's not too tough to see what might have drawn a producer to the project: The story's mix of the mythical and the mundane has become an indie staple, and Hesher's edge might have proved artful instead of shredding everything in its path. For any actress, however, the part of Nicole is embarrassingly thin.
  2. Despite its tai chi pace and genre-friendly characters, it's almost impossible to tell what's happening in the intriguing, intractable Road to Nowhere.
  3. Takes forever to get going and then goes nowhere.
  4. The film is so busy rifling through genres that it fails to develop a coherent flavor of its own.
  5. 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.
  6. The scenes between the young actresses are the film's most compelling: Both first-timers, Manamela and Makanyane are possessed of extraordinary faces and plain attitudes.
  7. In the end, the action sequences are just overblown and dollar-squandering, with no particular payoff in the entertainment department. The supporting actors - particularly Jones, Tucci and Luke - are the thing to watch here; they do all they can to keep the movie's gears running smoothly.
  8. Though the picture is lovingly and often quite strikingly shot and styled, there are too many dangling and swiftly clipped threads for the film to amount to more than another tasteful Sunday matinee set against one of the worst atrocities of the 20th century.
  9. Like the Inuit and their many words for "snow," Jake has a thousand squinty faces and they all mean "Bugger off."
  10. Del Toro loves his creatures. Maybe he loves them too much: He always wants us to get a good look at them, and that's one of the things that saps the spookiness from this Don't Be Afraid of the Dark.
  11. The Debt shortchanges itself severely with the weight it gives the portion of its story set further in the past.
  12. 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.
  13. Johnny English Reborn never quite ignites, even though it starts out promisingly enough.
  14. Despite this new expansion in scale, Immortals lacks the inexorable forward momentum of its role model "300," as well as that movie's audacious, gleeful fascism and oblivious, accidental homoeroticism.
  15. Robin Williams, who's sometimes too overbearing in real-life live action, makes a great cartoon-character voice.
  16. Unfortunately, outside of the proxy satisfaction it will give those who are dying to see the grim reaper let loose on the set of a very special episode of "Glee," the pleasures of Don't Go in the Woods can't quite compensate for its straggly bits.
  17. A well-intentioned, pleasant-enough picture that shoots off in too many directions to ever ignite.
  18. In the end Red Tails is mostly about the coolness of flying. Its heart is in the clouds, instead of with the men at the controls.
  19. But it's to little Benny that the film's heart belongs -- an adorable kid who seems to live only half in this world and the rest of the time in his own imagination, Benny's on a regimen of Ritalin and Lithium and other meds that sometimes leave him even dreamier than is his norm.
  20. There's no doubt that Being Flynn is an attempt at something painful and genuine – the movie itself yearns to make a connection, even if it can't quite locate the most effective channels.
  21. Jennifer Westfeldt's sort-of romantic comedy Friends with Kids is on to something, even if in the end it suffers from a failure of nerve.
  22. Comes across like the creation of a precocious student. I don't mean that to be a damning critique, though Detachment is a mesmerizing misfire -- it's just that it has the uncomplicated earnestness and hyperbolic melodrama of teenage poetry.
  23. 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.
  24. How much you enjoy Damsels will depend on your tolerance for Stillman's particular brand of duct-taped Sperry Topsider whimsy. It's a comedy! It's a musical! It's a trip down memory lane to revisit the blissful confusion of our - or someone's - college years!
  25. 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.
  26. 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.
  27. It was a stroke of genius, at least a miniature one, to cast Black in this role – he's made to play the affable teddy bear who could snap at any moment.
  28. A handsome-looking thing, with fairly grand period costumes and reasonably lavish sets. So much for production values: In every other way the picture is stiff and unyielding, hampered by a clumsy plot and diorama performances. The whole thing has the feel of a second-rate living-history exhibit.
  29. 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.
  30. The picture is broken down into narrative chunks that ultimately don't tell much of a story – what you get instead is a series of mini-climaxes held together by banter between characters.

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