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 3.2 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. 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.
  2. 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.
  3. 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.
  4. Actually, The Intouchables isn't bad - its merely shameless, but at least it's overtly so.
    • 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.
  5. Completely harmless and inoffensive, and at the very least, Shyamalan appears to be having a little fun here.
  6. 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.
  7. Straining for a timeless, family-friendly tone, Allen winds up with something closer to an unironically -- i.e. absurdly -- wholesome rehash of "Leave it to Beaver."
  8. 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.
  9. It's hard to tell what Wild Target is offering, besides the pleasure of its company.
  10. The film presents the rare instance of a true story that has been fictionalized and yet seems bent on cleaving to its least useful facts.
  11. 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.
  12. A well-intentioned, pleasant-enough picture that shoots off in too many directions to ever ignite.
  13. 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.
  14. Though the film concerns events contained within the roughly 50 square blocks of the East Village, it suffers from the narrative equivalent of urban sprawl.
  15. 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.
  16. 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.
  17. 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.
  18. Unfortunately, Silver's movie doesn't cut deep enough: It glosses over some thorny questions and hammers too fixedly on others.
  19. 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.
  20. Kári relies too heavily on the fleeting rewards of situation for the film to come together as an involving story.
  21. 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.
  22. Johnny English Reborn never quite ignites, even though it starts out promisingly enough.
  23. 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.
  24. 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.
    • 82 Metascore
    • 60 Critic Score
    There's an enchanting, and very Western, musicality in Certified Copy, a mash-up that charms; Mad Decent - master masher, dj and producer Diplo's label - aptly describes it. (Diplo and Buñuel would've loved each other).
  25. It's difficult to get a firm grip on most of what Disco and Atomic War, constructed in a mish-mash collage style, has to offer.
  26. 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.
  27. 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?
  28. Its occasional entertainment value aside, the picture is also blithe to the point of being flimsy.
  29. The animation itself is technically gorgeous, a class act all the way. But there's so little to be found in the faces of the characters, or even in the way their limbs move (much of it adopted, cleverly enough, from Tati's own physical style), that it's not clear what we're supposed to feel for them.
  30. 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.
  31. Robin Williams, who's sometimes too overbearing in real-life live action, makes a great cartoon-character voice.
    • 65 Metascore
    • 60 Critic Score
    Had the movie been made with two different lead actors, I surely believe the movie would have been unwatchable.
  32. 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.
  33. Like the Inuit and their many words for "snow," Jake has a thousand squinty faces and they all mean "Bugger off."
  34. Takes forever to get going and then goes nowhere.
  35. Peepli Live opens out slowly to encompass several factions of Indian society, including the press, local, state, and federal politicians, and the shady elements binding them all together. It's a meticulously engineered design that a show like The Wire took several years to execute; here the strain shows within the first half hour.
    • 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.
  36. 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.
    • 61 Metascore
    • 60 Critic Score
    So it's too bad 10 Years isn't, you know, funny.
  37. The degree to which they are willing to share their bodies with the world, seeming to reach out for it with each impossible extension, drawing it in with every reeling arabesque, suggests a desire for engagement that is visceral, human, and true in all the ways this film is not.
  38. 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.
  39. 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.
  40. 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.
    • 49 Metascore
    • 60 Critic Score
    You can't help but feel that the ambition of Henry's Crime was determined by the near anonymity of its title - the movie seems to be ensconcing itself into the Witness Relocation Program.
  41. Hickenlooper too often approaches his subject with the filmmaking equivalent of a wry chuckle.
  42. 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.
  43. 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.
  44. 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.
  45. 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.
  46. It goes down like a canned but genial '80s comedy: Without fanfare or much nutrition; part of your balanced breakfast.
  47. While Survival of the Dead does its best to work up a decent allegorical bent -- this time involving territorial pissing matches within a country under siege -- its power is diffused (and frankly, confused) by its execution.
  48. 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.
  49. Despite these two actors' decent - and occasionally very charming - performances the film stacks the odds of the audience caring about Heigl and Duhamel against a narrative vacuum that favors eye candy and cheap effect over emotional logic.
    • 73 Metascore
    • 60 Critic Score
    Gere does his best to give Arbitrage an agitated energy, but Jarecki's fatalism works against the film.
  50. 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.
  51. The Debt shortchanges itself severely with the weight it gives the portion of its story set further in the past.
  52. 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.
  53. 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.
  54. The divide between Tatum as performer and Tatum as actor gives the film an interesting unsteadiness.
  55. 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.
  56. 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.
  57. 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.
  58. Combines a deviously tragicomic take on the approaching annihilation of mankind with a irritatingly unconvincing and unnecessary love story.
  59. 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.
  60. 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.
  61. Despite heavy-handed characterizations, Devine and Bassett make their stake in the union felt, and it's anything but superficial.
  62. 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!
  63. Disappointingly ordinary film.
  64. 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.
  65. 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.
  66. Trouble With The Curve is an ode to the old ways of doing things, both in terms of acting and baseball.
  67. The movie muddles to a rug-pulling ending that doesn't, despite its efforts, shed new light on what's come before.
  68. 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?
  69. The film is so busy rifling through genres that it fails to develop a coherent flavor of its own.
  70. Chastain, an incandescent redhead with a heart-shaped face and round, shining eyes, does more justice to the part than it deserves.
  71. 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.
  72. The story is so bounteous that Goldwyn can't quite get a grip on it.
  73. 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.
  74. 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.
  75. 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.
  76. Actually, the picture is perhaps not quite as painful as you might be expecting, though probably not as enjoyable, either.
  77. 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.
  78. Season of the Witch is barely even a Nicolas Cage movie. He wanders through the picture, zombified.
  79. 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.
  80. 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.
  81. 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.
  82. 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.
  83. To invoke Pauline Kael's review of Diane Kurys's "Entre Nous," it's about two women not having a lesbian affair.
  84. It's hard to know how much of what's wrong with Hereafter stems from Morgan's screenplay, which lacks the characteristic tartness (and brains) of other movies he's written, like "The Queen" and "Frost/Nixon."
  85. The result is the double shrift of a thinly sketched background and a story that has trouble standing up on its own.
  86. As Lily Tomlin's Ernestine once said, "There's nothing like a Hoover when you're dealing with dirt." Clint Eastwood's J. Edgar could use more dirt: This is a sensitive, sympathetic portrait of a scummy little man.
  87. As Nathan, the teenage hero of Abduction, Lautner shows he's handy with stunts, many of which he clearly and impressively performs himself, and good with a fight scene. But when it comes to exchanges of dialogue, displays of emotion or just standing around, he's stiff and manifestly uncomfortable.
    • 28 Metascore
    • 55 Critic Score
    With the out-of-nowhere success of 2016: Obama's America, the nation could finally have a conservative counterpart to Michael Moore. I say the nation rather than the Republicans, because a balanced box office is good for us all, at least as a reminder of our right to oppose the current government and make a profit in doing so.
  88. Moretz brings some natural gravity to a role that hasn't been adequately fleshed out.
  89. Defiantly unwatchable if occasionally transfixing, the film is essentially the home movies of three marauding burnouts.
  90. W.E. is actually two intertwining stories - or maybe, more accurately, two stories clumsily rubbing against each other in an awkward attempt to set off a spark.
    • 48 Metascore
    • 55 Critic Score
    Can't make its mind up about what, exactly, it is.
  91. Ultimately just another less-accomplished entry in the booming cinema of catharsis, your average gorgeous-teen-astrophysicist-meets-schlubby-bereft-composer-whose-family-she-wiped-out-in-a-drunk-driving-accident-on-the-night-they-discovered-another-planet tale.
  92. None of it quite works, but it seems Beresford did his damnedest to try to pull it off.
  93. The film has the feel of something deeply conventional that Crowe, who's also credited as a screenwriter, has tried with very mixed success to punch up with personality.
  94. It would be a real shame, with this much money and this many effects artists, if there were not a few purely visual wows. Wrath manages exactly two, and not where you might expect.
  95. Wheatley drops enough unnerving bread crumbs in the first two-thirds to leave you wondering where the hell he's headed, and even the big finale should be satisfying enough: It just belongs to a different movie, and it's unsettling in a way that doesn't feel earned.
  96. Stone's moralism, coupled with discreet but bloody beatings, shootouts and all manner of tawdry goings on, rings hollow. The picture is neither entertaining nor preachy – it is simply very loudly meh.
  97. It's an extravaganza of bad taste that in the end just tastes bad.
  98. The puffy high tones of medieval fantasy punctured by the flatly vulgar and colloquial - is the film's central comic vein, one McBride taps it like it's never been tapped before.
  99. Like the recent and only slightly less fantastical "Never Let Me Go," Inhale manages little more than a gesture toward untying its bundled moral knots.
  100. Rather than beginning with the assumption that there is no possibility of our coming to know that kind of suffering exactly and using imagination and insight to truly take us inside the Lvov Jews' plight, Holland makes the base conditions of their confinement a narrative as well as aesthetic priority. And frankly it's boring as shit.
  101. 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.
  102. Parts of Dark Shadows look lovely. So what happened to the story?
  103. On the whole the film is not much fun to watch. A job is a job, though; Yogi Bear did little to make it more than that.
  104. It’s so ineffectual and unfocused that after it’s over, you’re not even sure you watched a movie.
  105. The latest from brothers Mark and Jay Duplass (who co-wrote and directed) seems to expose the limits of a certain kind of realism by stretching them one man-child too far.
  106. We need to wait nearly 20 years for the romance in Lone Scherfig's One Day to get cooking, and for long stretches it seems as if we're watching this particular pair of nonstarters hem and haw in real time.
  107. Walks the jittery line between being exploitative and too sensitive, and while it's probably a relief that it tips more toward the latter, the movie also seems a bit unclear in its motives.
  108. Mostly, though, African Cats is extremely tactful about the truly harsh stuff that goes down in the world of nature.
  109. Winterbottom’s version goes too far.
  110. The Descendants is an ultra-polished picture in which every emotion we're supposed to feel has been cued up well in advance. There's nothing surprising or affecting about it. Not even Clooney, who works wonders with the occasional piece of dialogue, can save it.
  111. The subject of Spurlock's movie is Spurlock, and while he may be reasonably affable, and sometimes extremely goofy, it's a stretch to call him controversial.
  112. Like the recent "Perrier's Bounty," The Guard feels like it might play better at home than overseas.
  113. A film loaded with interest that somehow fails to be interesting, La Soga is inspired by true events and not much else.
  114. The picture, the debut feature of Irish director Gary McKendry, is rote and joyless, an exercise in disposability.
  115. How, I'm wondering more and more often, do studios put movies like this one in front of audiences and assume they'll just buy it? The secret to making a great, or even just a good, thriller these days seems to have been lost.
  116. The tragedy of The Fighter is that Wahlberg's performance suggests a character who wants more. And yet Russell barely seems to notice how much subtlety Wahlberg brings to his role, or to the movie at large.
    • 43 Metascore
    • 55 Critic Score
    The two films have the same underlying bone structure, sure, but this new Total Recall is made of more serious, more humorless stuff. It looks simultaneously lavish and interchangeable in its explosions and shoot-em-ups with a dozen other recent action movies, and in its sci-fi stylings with a dozen others in the genre.
  117. A massive wedgie of a comedy, which is to say it's a comedy of extreme discomfort.
  118. Because his character is never clear, Manolo's choices lack emotional interest and narrative urgency.
  119. This is good-for-you, arthouse-style horror. Which doesn't mean it's necessarily any good.
  120. 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.
  121. 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.
    • 55 Metascore
    • 50 Critic Score
    What he's missing in The Eagle is that spark of the insane - the slightly lunatic fever that makes us unable to keep our eyes off him (Channing Tatum).
    • 35 Metascore
    • 50 Critic Score
    It's got a great subject - the extraordinarily voluble comedian Jonathan Winters, whose constant rush of words can be like a blizzard: beautiful, maddening, exhausting and finally beautiful again. But it's not a great film.
  122. Eclipse, while admittedly an improvement over last year’s barely coherent "New Moon," only adds insult to injury. Nothing so grand as a real eclipse, it’s more just a massive blind spot.
  123. The Double does contain some delightfully over-the-top twists that make no sense but are great fun to consider.
  124. In its empty-headed hubris, it's not much more admirable than the conniving, moneygrubbing elite it's trying to take down.
  125. No matter how much good-hearted licentiousness follows in the rest of the movie, the opening sequence brings a unshakable sourness to the whole affair.
  126. Virginia is like a box full of someone's long ago summer vacation keepsakes: pretty, but representative of memories and meaning no one else will be able to grasp.
  127. The smugness of the film grows wearying long before the end. Just because the people on and behind the camera are willing to acknowledge what we're watching is ridiculous crap doesn't really change the fact that, well, it is.
  128. Trespass is best received as an almost viable B-movie that just happens to have A-list leads.
  129. Though based on the Hemingway novel published 25 years after his death, Hemingway's Garden of Eden feels more like the result of an ungodly alliance between Harlequin house writers and the cut-and-paste masterminds at A&E Biography.
  130. It's a movie that needs to look down its nose for its laughs, which generally isn't the best place to find them.
  131. This is a family movie, after all -- but you'll have to sit through some abrasively broad, unfunny exchanges to get there. Dialogue, alas, is the kind of thing that can't be enhanced by the wearing of 3-D glasses.
  132. The film’s most impressive feat may be bringing a cartoon character to life while turning actual humans into 2-D cutouts.
  133. As sticky-sweet and textureless as a bowl of pudding, though an amused central performance from star Morgan Freeman continually finds nuance and the unexpected where there ultimately isn't any.
  134. The Dilemma is bad in a way that seems to parody all the ways in which a film like, say, "The 40-Year-Old Virgin" was good.
  135. An ungodly mess that's great fun to look at for about 15 minutes and exhausting the rest of the time.
  136. There's too much people and not enough dog in Lawrence Kasdan's Darling Companion, and even if you prefer people to dogs, that's a serious problem.
  137. These characters are at best doodles, and none of the performances are able to tease more depth out of them.
  138. The picture is directed with such a loose, slack hand that you'd think Craven had never directed a slasher-thriller before: I didn't jump once; I never even felt vaguely scared or creeped out.
  139. There's something immobile at the center of The Lady, a kind of Botoxed biopic with an unlikely director - Luc Besson - manning the syringe.
  140. Alex Cross is filled with accidental comedy, and while it's a mess in any traditional movie sense, it's has its moments of preposterous fun that come in the form of a nonsensical plot and a fabulously competent, scenery-gnawing villain.
    • 50 Metascore
    • 50 Critic Score
    Ultimately the movie ridicules the culture that compels what Cedric the Entertainer calls grown-ass men to dress up like comic-book characters, as well as the Christian attempts to co-opt that culture.
  141. At 84 he describes himself as being kept alive by young women's laughter and infernal baby-talk, marking off perhaps his final, groaning aspirational standard. Almost makes me feel sorry for those men still trying to keep up.
  142. It's the closest thing you'll find yet to a recreation of a video game sensibility on the big screen - which is in line with the franchise's source material - and makes for a memorably unsettling if not particularly satisfying viewing experience.
  143. Gerard Butler, who's honed his screen persona as a brutish, charismatic jerk, isn't a bad fit for the role of Sam, even if he's more believable spraying bullets and stabbing hitchhikers than he is delivering a sermon.
  144. There's enough froth along the way to keep the memory of Will Ferrell's recent "Casa Di Me Padre" close at hand.
    • 37 Metascore
    • 50 Critic Score
    Roos works from the edge of a precipice as well, distending the melodrama in his films until it finally tumbles in subtle, observant satire; Kudrow, who etches each pause in acid, was born to speak his dialogue.
  145. The film is being released in both 2- and 3-D, and from what I could tell the 3-D version is still almost 50-50. What use is made of the technology is hardly worth the effort, unless you've always wanted to experience a cascade of cheesies in 3-D.
  146. Armadillo tells us lots of things we shouldn't be so naïve as to think we don't already know. Maybe we need to see these things again and again, just so we don't lose sight of the costs and risks of the wars in which American and European soldiers are currently engaged.
  147. Even if there were a compelling narrative here to begin with, Montiel's excessive technique would throw you right out of it.
  148. The writing and directing debut of Italian actress Marta Mondelli, is a classic example of a director who wanted to make a film but lacked a story that demanded telling.
  149. Just Go With It attempts to merge farce and romantic comedy with the Sandler sensibility, and the result is a story that evades where it should engage and a whiplash tone that dispirits when it should delight.
  150. It's tailored more to a gamer's eyes and expectations than a moviegoer's. On the whole the scenes play like levels, with one connecting in only the most basic way to the next.
  151. In the early scenes of Larry Crowne, Hanks' Larry is so assertively regular he almost comes off as a special-needs child - grinning into his coffee-cup in the big-box-store break room, he has all the sexual allure of Forrest Gump.
    • 50 Metascore
    • 45 Critic Score
    One senses that the movie doesn't quite have the chutzpah to be what it wants to be - a "Fast and Furious"-like sequence of balletic car chases - so it periodically halts to wedge in some romance.
    • 39 Metascore
    • 45 Critic Score
    While this latest Rogen-penned iteration is a game try, it feels a bit like he's trying to make a volume out of a footnote.
  152. As an insult comic, Madea has gone the way of her low-hanging bosom. There's little pleasure in watching her go off, and Perry's direction is reliably drab: Sitcom setups dominate, with strange blown-out lighting occasionally swapped in for the flat tones of a WB soundstage.
  153. Too earnest and dour to be a silly bit of summer fun, but it's not exactly scientifically sound, either.
  154. Over-narrated by Kiefer Sutherland in full "this is extremely important and also very, very cool" mode, from its first self-important minutes Twelve seems as if it can't possibly be serious. Would that it were not.
  155. God Bless America only wants to see the worst in people - in fact actively seeks it out in order to be disgusted, and that feels almost as bad as the behavior the film is critiquing.
  156. I found myself forgetting The Art of Getting By as it unfolded, as though the Looney Tunes art department were two steps behind the characters, rolling up the scenery like so much carpeting.
  157. There are some body-horror gross-outs if you're into that sort of thing, but mostly what you get are a bunch of too-obvious leftovers from the "Alien" stockroom, including a selection of moist innards, slimy tendons, dripping fangs and the like.
    • 58 Metascore
    • 45 Critic Score
    In the least, and most significantly, Day of Reckoning should propel British martial artist/stunt veteran Adkins out of the niche genre world - action cinema's Adkins diet?
  158. The tiniest bit of Hudson's wrinkly-crinkly cuteness goes a long way, and in A Little Bit of Heaven, watching her waste away becomes slow torture. She's like an adorbs Camille.
    • 59 Metascore
    • 45 Critic Score
    Middling, middle-class entertainment aimed at the midpoint between comedy and drama, mass appeal and sophistication, Change of Plans is eager to please and easy to dismiss.
  159. There's a fine line between a character who has a sense of humor about herself and one who's being repeatedly humiliated for entertainment value, and I'm afraid Ally falls on the wrong side of the line.
  160. The movie's look is artificially grainy, and most of the scenes are encrusted with CGI - you'd have to chip it away with a chisel to get to anything human or interesting or even remotely fantastical.
  161. The only bright spot in Extremely Loud and Incredibly Close is Max von Sydow, as a mysterious, and mysteriously mute.
  162. It comes to the party overdressed and still fails to make an impression.
  163. As horrific as Something Borrowed is, it's compelling in its own sick way.
  164. Every actor in Friends with Benefits, including the nearly indestructible Patricia Clarkson and Richard Jenkins, stalls out in the process of pedaling desperately to make this substandard material work.
  165. Some of us wonder, still, how Margaret Thatcher can continue to live with herself. Watching Meryl Streep walk around so ably in Thatcher's skin isn't enlightening; it's more like a living nightmare.
  166. Some of the film's limpness is due to the fact that Cage plays Will in a minor weird key as opposed to one of his major ones -- there are no fits of operatic oddness.
  167. Somewhere in there is a little blonde girl and her dreamy princeling, but damned if I could see them through the dreck.
  168. In the realms of pregnancy comedy, What to Expect When You're Expecting doesn't find new laughs, just layers on attempts at the tried-and-true ones.
  169. Isn't just unfunny; it's so dull.
  170. This latest is grim stuff: Little Fockers hardly bothers with finding a reason to exist, although one might assume a focus on the abiding hilarity of life with small children. That assumption would be wrong.
  171. Your enjoyment - if that's the right word - of Buried will hinge on two things: Your ability to tolerate situations in which characters are confined to very tight spaces, and your willingness to be emotionally manipulated in the cheapest way imaginable.
    • 74 Metascore
    • 40 Critic Score
    Somewhere under all that bloat is the greatest short subject of all time.
  172. So much of Abbas' dialogue consists of stiff platitudes (the script is by journalist Rula Jebreal, based on her novel of the same name); the character she's playing has been reduced to a dull, saintly figure, and not even Abbas can find a way out of that miniature prison.
  173. It was boring. So, so, so boring. It doesn’t even give Haley the courtesy of a bad-guy showcase; his face frozen and obscured behind burn prosthetics, he spends most of his time spitting distorted one-liners from the shadows, like some anonymous mob witness on an episode of Dateline NBC. It’s boring and a waste.
  174. The film is all for teaching as a calling. What it doesn't do is offer it the dignity of also being a job.
    • 56 Metascore
    • 40 Critic Score
    That's eventually what Unknown is - violent, impersonal and comforting.
    • 40 Metascore
    • 40 Critic Score
    The first half hour of Here Comes the Boom is so good moviegoers might be fooled into expecting something better than an obvious wish fulfillment fantasy so patently implausible it's almost insulting.
  175. You really need chemical aids to be able to sit through something so unabashedly half-assed.
  176. High School rushes through the parts it should savor and then pads out its runtime with filler elsewhere - and, less forgivably, it doesn't make getting high look like fun.
    • 17 Metascore
    • 40 Critic Score
    You want to tell Six that yes, we get it already. But then subtlety isn't exactly his thing.
  177. "A Short Cuts" full of self-pitying sociopaths, Answers to Nothing follows its characters toward a succession of increasingly queasy conclusions it tries to pass off as heartfelt and human.
  178. Hornet's Nest is filled with boring, not-great-looking white guys, talking - a lot.
  179. Less a film than a product, New Year's Eve is so carefully calculated as to be, in its own way, admirable.
  180. It doesn't help that even the pratfalls in A Thousand Words look tired and recycled.
  181. 1911 isn't propaganda but more a relentless, serious, fiercely nationalistic bit of historical mythmaking.
    • 60 Metascore
    • 40 Critic Score
    Maddeningly repetitious.
  182. The problem with Chernobyl Diaries isn't that it's offensive, it's that it's dumb.
  183. The supposition, maybe, is that in an alleged thrill ride of a movie like this one, the words aren't supposed to matter.
  184. ATM
    Even by the most lenient of genre standards, the behavior of the characters in David Brooks's ATM is ludicrous enough to make anyone grind his or her teeth in frustration.
  185. This new version of Straw Dogs, written and directed by Rod Lurie, has been contemporized, sanitized and stripped of all complexity, and what's left is as empty as a used piñata.
    • 43 Metascore
    • 40 Critic Score
    The mannerisms and phrasings that Holmes mimics - call it strenuous naturalism - are so recognizably Cruise that instead of establishing Laura's inner conflict she lets the strange life of Katie Holmes (Scientologist starlet, Suri momma, and Cruise-candy) slip onto the screen.
  186. Step over to the liquor cabinet and mix yourself a good, stiff drink - if you plan on seeing this godforsaken thing, you'll need it.
  187. Tainted by a script (by Jon Lucas and Scott Moore) so risibly broad it makes "Wedding Crashers" look like Bergman in the Hamptons.
  188. It's as if, after years of playing characters with temper issues, Sandler has finally let some of that repressed rage leak out toward the audience.
  189. It doesn't take long for Bekmambetov to wear out his welcome with a laundry list of generic-looking action sequences: When you've seen one vampire get stabbed in the eyeball, you've seen 'em all.
  190. The Lorax is so big, flashy and redundant that it courts precisely the kind of blind consumerism it's supposed to be condemning. It doesn't trust kids to sit still and pay attention for even a minute.
  191. The reality of The Devil Inside is that it's a half-hearted patchwork of ideas blatantly lifted from better films, with characters who have to act increasingly foolish in order to allow the action to go forward and an ending so anticlimactic and abrupt that the audience at the screening I attended erupted in enraged boos as the credits rolled.
  192. What a dud of a story! You know what it needs to dress it up? Garden gnomes.
  193. With Tyler Perry gradually segueing toward non-drag leading man status with "Good Deeds" and the upcoming James Patterson thriller "Alex Cross," his latest appearance as the sassy, wisdom-dispensing matriarch of the title in Madea's Witness Protection has an aura of fatigued reluctance to it, as does the film itself.
  194. Number of chipmunks who speak fluent chola when necessary: three. Number of Spider-Man/Pepe Le Pew mash-ups I can't really get into: one.
  195. The disconcerting thing is how easy it is to fool viewers into being satisfied with not being involved, or even entertained - as long as they can RELATE.
  196. Smith isn't up to doing anything other than setting up caricatures and then knocking them down.
  197. Safe House is a twisted claw of a movie, a picture so visually ugly that, to borrow a line from Moms Mabley, it hurt my feelings.
  198. After a while, you stop hoping she'll tell her family to suck it up and watch some TV and then drink a bottle of rosé all by herself, and instead settle for wishing she'd develop a smidgen of self worth.
  199. It follows the same essential pattern as its predecessor, but the ingenious loopiness is gone; the mechanism behind it grinds instead of whirrs.
  200. A sugary jumble of goofy voices, hyperkinetic action scenes and rote plot elements that rolls forward just enough to get us to the de rigueur pop song that plays over the closing credits.
  201. The Paperboy is a nutty movie in terms of content, but it's also assembled in a demented fashion - there's a sense that literally anything could happen, and that its raunchy, heat-dazed story could wander down any path without regard to sense or an overall narrative.
  202. Bromance or romance, This Means War feels like something scrawled by enterprising teenagers who developed their concepts of love and espionage from films and TV shows they caught over a few weekends of basic cable surfing.

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