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 The Artist
Lowest review score: 5 The Roommate
Score distribution:
  1. Negative: 41 out of 693
693 movie reviews
  1. What Cedar captures here is the way a father and son can be bound so tightly they almost choke the air out of one another. You can't exactly call it affection; it's that far more complicated thing we call kinship.
  2. To Stewart and screenwriter Cory Goodman's credit, the whole set up takes about 10 minutes flat, leaving Priest's remaining 77 minutes to the dark, desolate action at hand. Even more to their credit, there's something evocative in that darkness, something poetic in its desolation.
  3. There are a couple of scenes of pure, sentimental genius, as well as appealingly boggled turns by Rudd and Wilson.
  4. But what makes Burlesque truly delectable - for the first half, at least, before its going-nowhere storyline really heads south - is its less obvious camp value.
  5. Leaving is a bit too dry and controlled, as well as too relentlessly bleak, to be a satisfying melodrama.
  6. By the time he's putting the entire metro area on notice -- having thrashed his father and all the local bullies -- Andrew has no camera and the metaphor has run away with the story entirely. The crazy thing is it almost works.
  7. It's the most imaginative picture in the franchise.
  8. There's such a thing as having too much reverence for your material, and although Davies is an extraordinarily gifted and principled director, The Deep Blue Sea may suffer for that reverence.
  9. Bale's presence in the film is a kind of misdirect, a calculated element intended to better its international commercial prospects -- his character makes a clumsily predictable journey from cynical drunken expat to hero willing to sacrifice a chance to escape the country in order to care for the children who've ended up in his charge.
  10. Ted
    One of the tricks of Ted -- perhaps its smartest one -- is that everyone, not just John, knows the bear can talk.
  11. There's a sliver of a plot to The Raid, but it's really not worth going over -- when the characters pause to talk, which is rare, it does tend to kill the film's momentum.
    • 60 Metascore
    • 75 Critic Score
    Forget modulation, nuance or storytelling, this is a movie that hits hard from first to last, no questions asked or logic followed.
  12. Veering between the windswept and the simply windy, The Tempest, I suspect, will provoke purists and only intermittently win the attention of less interested parties.
  13. Crazy, Stupid, Love. is, for the most part, an effective love story, but the two figures in thrall to one another aren't the ones you think: The magnetism between the movie's two male stars, Steve Carell and Ryan Gosling, is what really makes the movie tick.
  14. The result is way out there - so far that you won't quite recognize the terrain, and still feel strangely at home. The look has the impossible feel of a CGI soundstage: Not cheap, not even necessarily fake, just… weird.
  15. Ifans takes dorky, grandiose dialogue and turns it into something almost - well, Shakespearean.
  16. Pattinson does a quietly marvelous thing in finding vulnerability in Eric without making it seem like softness.
  17. Ultimately -- and perhaps fittingly -- Cropsey is most effective as a study of Staten Island and its inhabitants, specifically the half-life of grief as it is manifested in a self-contained community.
  18. The primary weakness of Affleck's film is the actor himself, who can't seem to find much in "exfiltration" specialist Tony aside from a dedication to his work and sorrow over the potential breakup of his family.
  19. How much human love is too much for an elephant? That's the question Lisa Leeman's One Lucky Elephant attempts to answer, without sentimentality but with the right amount of compassion.
  20. It's a matinee treat for the very little ones, after all.
  21. Sugar Man is most interesting when it touches on the conditions that combined to draw a cult hero out of some decent music and a generously enabled, imagination-firing mystique.
  22. Even if Dolphin Tale hits every note square on the nose - or maybe because it does - watching it is surprisingly pleasurable.
  23. Dark to a specific point of dullness or even opacity, Solondz requires patience, as always, but indulgence as well. He relies on your remembrance of his other films and characters but also on your willingness to overlook his redeployment of tactics that range from puerile to mildly -- and somehow always self-skeptically -- profound.
  24. Aside from his usual bold color schemes, Almodóvar has managed a remarkably restrained telling of what's in essence a sci-fi psychosexual melodrama set in the very near future of 2012 Toledo.
  25. Sleeping Beauty is best experienced as a piece of fragmented poetry rather than a strict ideological tract.
  26. Those of us who love Michael Caine have to recognize that his capacity for coldness is part of what makes him great. And in that respect, what he does in Harry Brown is something of a bookend to his extraordinary, and extraordinarily chilly, turn in Mike Hodges' cold-blooded 1971 Get Carter.
  27. This picture belongs to Jason Bateman, who, after years of playing the second or third banana (and plenty of times being the best thing in a given film), finally gets to show off his considerable gifts as the co-lead in a mainstream comedy.
  28. Lockout is derivative and ridiculous and a good time, provided you can turn off higher brain functions along with any other part of you that might want to lodge a complaint about liberal borrowing from better movies.
  29. The picture could be so much better than it is, and yet it's also the kind of movie that makes you want to grade on the curve, adding extra points for good intentions.

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