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 2.9 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 divide between Tatum as performer and Tatum as actor gives the film an interesting unsteadiness.
  2. Based on a true story which director Marco Amenta explored 12 years ago in documentary form, The Sicilian Girl feels powered by unfocused preoccupation, rather than by a more compelling creative ambition.
  3. Mirren tricked out in mid-70's pimp wear -- ahead of her time, she even brandishes a cane -- has a certain charm, but novelty alone can't keep Love Ranch's tiresome tropes and plodding storyline from dragging the film down through the Nevada dust.
  4. 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.
  5. Combines a deviously tragicomic take on the approaching annihilation of mankind with a irritatingly unconvincing and unnecessary love story.
  6. A concerted effort to make a scary movie without spilling a drop of blood, Insidious is earnest to the point of suffocation about scaring you silly.
  7. Designed to be both essential history lesson and costume weeper, Princess Kaiulani comes up short on both fronts: Deadly earnest intentions and lack of dramatic gumption ensure that the story of Hawaii’s favored daughter remains under-told.
  8. Despite heavy-handed characterizations, Devine and Bassett make their stake in the union felt, and it's anything but superficial.
  9. 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!
  10. Disappointingly ordinary film.
  11. 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.
  12. 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.
  13. Trouble With The Curve is an ode to the old ways of doing things, both in terms of acting and baseball.
  14. The movie muddles to a rug-pulling ending that doesn't, despite its efforts, shed new light on what's come before.
  15. 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?
  16. The film is so busy rifling through genres that it fails to develop a coherent flavor of its own.
  17. Chastain, an incandescent redhead with a heart-shaped face and round, shining eyes, does more justice to the part than it deserves.
  18. 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.
  19. The story is so bounteous that Goldwyn can't quite get a grip on it.
  20. 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.
  21. Svelte enough in its reassembling of familiar elements to be, for a while, as comfortably pleasant as sipping on what once used to be your go-to drink - until The Samaritan takes a jarring turn right out of Park Chan-wook, and from there takes a tumble into ludicrousness from which it doesn't recover.
  22. For a movie with a comedic premise this simple – essentially: can you believe we made a movie with a premise this simple? – Casa de Mi Padre can feel pretty exhausting.
  23. Actually, the picture is perhaps not quite as painful as you might be expecting, though probably not as enjoyable, either.
  24. Beastly manages to show you all the ways it might have worked by missing every available mark, sometimes by the gaping expanse between Alex Pettyfer's ears, sometimes only by the feline curl of Vanessa Hudgens' smile.
  25. Season of the Witch is barely even a Nicolas Cage movie. He wanders through the picture, zombified.
  26. Mostly it's frustrating; the film is an episodic jumble that runs hot and cold not in some implied thematic synchronicity with its subject's character but as part of a misguided approach that assumes the audience will find whatever Mesrine does, in whatever order and with whatever emphasis, inherently fascinating.
  27. The plot of Cars 2 is both overly convoluted and thin, and it folds in so much unvarnished toddler-instruction that it almost feels like an educational film.
  28. It's not that The Watch is terrible – it's not not terrible, but there are sufficient diversions and more punitive ways to spend your evening – but that it's one of those smoke bomb comedies that seems to disappear even while you're watching, leaving no trace of itself behind.
  29. It has neither the Red Bull–fueled crudeness of "Crank" nor the Frenchified lunatic vitality of the "Transporter" movies; it's not even as cheaply entertaining as the generic hit-man retread "The Mechanic." Safe shows Statham comfortably treading water, proving all the things he no longer needs to prove.
  30. To invoke Pauline Kael's review of Diane Kurys's "Entre Nous," it's about two women not having a lesbian affair.

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