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 3.8 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. Girl in Progress feels a little trapped by its own conceits: It plays with the idea that all rebellion is in some sense performed and makes a caricature out of the immature, attention-hungry mother, but it never liberates its characters from their molds.
  2. Its occasional entertainment value aside, the picture is also blithe to the point of being flimsy.
  3. Actually, The Intouchables isn't bad - its merely shameless, but at least it's overtly so.
  4. 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.
  5. Why can't heroines just be heroines anymore, instead of micromanaged personalities who may as well have the words "Role Model" tattooed across their foreheads?
    • 34 Metascore
    • 60 Critic Score
    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.
  6. It's imaginative only in a stiff, expensive way. Scott vests the movie with an admirable degree of integrity – it doesn't feel like a cheap grab for our moviegoing dollars – but it doesn't inspire anything so vital as wonder or fear, either.
  7. I was with the movie every step of the way, right until the final credits began rolling – at which point I realized that the whole thing made no sense whatsoever, and that none of my nagging questions about what the hell was going on would ever be answered. There's a distinction to be made between being a dupe and being had.
    • 59 Metascore
    • 60 Critic Score
    Combines a deviously tragicomic take on the approaching annihilation of mankind with a irritatingly unconvincing and unnecessary love story.
    • 72 Metascore
    • 60 Critic Score
    The divide between Tatum as performer and Tatum as actor gives the film an interesting unsteadiness.
    • 36 Metascore
    • 60 Critic Score
    The movie muddles to a rug-pulling ending that doesn't, despite its efforts, shed new light on what's come before.
  8. The picture coasts along quite nicely on the strength of its contemplative sensuality, its macaron colors, and the exquisite beauty of its three chief actresses, Léa Seydoux, Virginie Ledoyen and Diane Kruger. Oh, and there's nudity in it too, not to mention lesbian undertones – or are they overtones?
    • 43 Metascore
    • 60 Critic Score
    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.
    • 65 Metascore
    • 60 Critic Score
    Had the movie been made with two different lead actors, I surely believe the movie would have been unwatchable.
    • 50 Metascore
    • 60 Critic Score
    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.
    • 52 Metascore
    • 60 Critic Score
    Sometimes funny, sometimes shrill and wildly uneven, Bachelorette demonstrates film and television's continuing struggle to provide a platform for funny women in the realms of R-rated comedy and the tug-of-war between the desire to push boundaries and fears about likability.
    • 73 Metascore
    • 60 Critic Score
    Gere does his best to give Arbitrage an agitated energy, but Jarecki's fatalism works against the film.
    • 61 Metascore
    • 60 Critic Score
    So it's too bad 10 Years isn't, you know, funny.
    • 58 Metascore
    • 60 Critic Score
    Trouble With The Curve is an ode to the old ways of doing things, both in terms of acting and baseball.
    • 52 Metascore
    • 60 Critic Score
    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.
    • 79 Metascore
    • 60 Critic Score
    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.
  9. 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.
  10. 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.
    • 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.
    • 54 Metascore
    • 60 Critic Score
    Is it a coincidence that classic action is making its comeback at the same time Schwarzenegger is making his own? Hey, he warned us he'd be back.
  11. Defiantly unwatchable if occasionally transfixing, the film is essentially the home movies of three marauding burnouts.
  12. Dark and queer enough to catch your attention but lacking the story power to hold it, Metropia is an aesthetic in search of an author.
  13. It’s so ineffectual and unfocused that after it’s over, you’re not even sure you watched a movie.
  14. Though he lavishes praise on his subjects for being hyper-masculine and free-thinking, Stone is downright girlish in his devotion, scoffing at charges made against the leaders rather than examining them.
  15. Relies almost entirely on its tunnel-vision, single-player style for its scares. It’s a strategy that stalls out halfway through, which means it works for twice as long as it should.

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